15.10.2026, 20:00 Opening night Performance / Sound Art Program sound performance, 2026 Location: Special Events Auditorium Duration: 27 The performance Cyborgutt 3.0 is the result of an exploration of the connection between queer theory, cyborg bodies and the field of music. By recording the sounds produced by the body with the help of an electronic stethoscope, the composer creates a soundscape that narrates its fluid identity within a system of binary perceptions. Breathing, heartbeats, stomach sounds and brain vibrations provide a rhythmic background, modulated through biosensors, making the process of production and performance transcendental and meditative. φø (Fotis Rovolis) studied Architecture at the University of Thessaly and Electroacoustic Music Composition at the Institute of Sonology (The Hague) and the University of Athens (NKUA). Their practice explores embodiment and the fluid boundaries of sound, body and gende working across sound, video, graphic design and biosensors. Their work has been presented in various festivals and venues including Ultima festival (Oslo), Kalamata International Dance Festival (Greece), Expand (Athens), World Expo 2025 (Osaka) and the Greek National Opera Alternative Stage (Greece). They are a member of the Hellenic Electroacoustic Music Composers Association (HELMCA). \ Instagram: @thisisnotfaux

15.10.2026, 20:30 Opening night Performance / Sound Art Program performance for a dancer, terpsitone, and computer, 2025 Location: Special Events Auditorium Duration: 30 Ηχόσωμα (Echo-soma) presents the collaborative work of artist-researcher Andrey Smirnov and choreographer Dafin Antoniadou. The performance is structured around a unique historical instrument: the terpsitone. Originally invented by Leon Theremin in 1931 as the first instrument to convert a dancer’s full-body movements into sound, it was never mass-produced and remains a rarity. This performance features Smirnov's 2025 reconstruction. Within an active bio-feedback loop, Antoniadou’s choreography engages the instrument as a partner. Her movements, from subtle gestures to expansive leaps, directly influence the sound’s pitch and texture. This dialogue makes the dancer’s body the central agent of a live-composed sonic universe, exploring the eternal theme of creation and destruction in real time. Dafin Antoniadou is a choreographer and performer whose work explores the body as a vessel for the technological and narrative dimensions of sound. Her practice treats movement as an essential extension of sonic material, creating powerful, cinematic stories that investigate the limits of human consciousness. This methodology translates to a collaborative spectrum. \ Instagram: @dafinantoniadou Andrey Smirnov is an artist and researcher based in Thessaloniki, Greece. He is a special scientific associate at MOMus Museum of Modern Art, Costakis Collection in Thessaloniki, the founder of the Theremin Center in Moscow (1992), Rodchenko Sound Lab at the Rodchenko Art School in Moscow (2017) and Zerkalo Art Space in Thessaloniki (2025). His collection of the historical documents and instruments has been combined with extensive research into the history of music technology with broad experience in composition, interactive performance and curatorial activities. He is the author of the monographs 'Sound In Z: Experiments in “Sound and Electronic Music in Early 20th Century Russia” (London, 2013) and “In Search of Lost Sound. Experimental Sound Culture in Russia and the USSR in the First Half of the Twentieth Century’s” (Moscow, 2020) (The Book of the Year Award at Innovation 2021 Competition, Moscow). \ Instagram: @zerkalo_sonartspace

16.10.2026, 19:00 Anne-Sarah Le Meur and Arnaud Romet A/V performance, 2026 Location: Special Events Auditorium Duration: 60 (30 min performance + 30 min artist talk) In Time-Mirror, the image—with its central, frontal square form, a kind of veil or “maya”—compels the viewer to look and become aware. Minimalist and abstract, in constant evolution and slow flux, it shifts from sombre compositions to intense bursts of color. Its formal and chromatic interplay evokes a dreamlike, primordial world in which symbolic dramas, births, and transformations become calls for peace. The music, relatively undefined in character, incorporates quasi-automatic processes involving frequencies, filters, equalization, and other effects. Primarily electronic sounds—white noise and synthesis—are combined with concrete sounds to create a play of dialogue and dissociation within a subtle “para-synchronism.” Anne-Sarah Le Meur studied computer graphics in the late 80's. Influenced by painting and experimental cinema, her images, abstract and organic, paradoxically almost-flat, explore the plastic potential of 3D-space via programming and numbers. After playing with wire textures, she is interested in lights, one of which is negative and black, very rich in pictorial and symbolic terms. She belongs to the second french computer artists wave. She has notably exhibited in ZKM Karslruhe and Charlot Gallery Paris represents her. Arnaud Romet is a French composer, filmmaker and experimental multidisciplinary artist working with electroacoustic sound, video, theatre and writing. His practice brings together words, images and sound as one material, often through live performance, spatial sound, projection and narrative forms. He has composed for performing arts, visual arts and experimental cinema, and directed the feature film Le Brame de la Licorne.

16.10.2026, 20:00 Location: Outdoor Performance / Terrace at the Sasuntsi David Garden Gallery level (an open space close to the third fountain from the bottom) Duration: 60

17.10.2026, 19:00 Location: Outdoor Performance / Terrace at the Sasuntsi David Garden Gallery level (an open space close to the third fountain from the bottom) Duration: 30 The performance will essentially take the form of a conversation between two beings, one of whom is imaginary. Sound will, in a sense, be the only ‘alphabetic’ means by which these two creatures can understand one another. Francesco Cavaliere is a visual artist, writer, and musician born in Piombino in 1980 and raised in Volterra, lives and works in Turin. His works are capable of enlivening his listeners' innerstates through a polymorphic activity that combines writing, sound, voice, drawing, sculpture, which together stimulate the imagination, undertaking long journeys crossed by ephemeral presences. He writes sound stories and music based on particles of sound, noise and language, often integrated with installation and scenographic elements or live performance, showing a particular taste for the most diverse forms of exoticism. Over the years he has developed a veritable dictionary to catalogue the metamorphic beings that inhabit his own abstract fantasy universe: hybrids of objects, animals, plants, planets, trails, cosmic objects and physical and perceptual phenomena generated by glass, minerals and voices, recorded and performed with analog technologies. "I am a talking scribe ... my voice is a cloud, my pen hisses." https://francescocavaliere.bandcamp.com/

17.10.2026, 20:00 Location: Special Events Auditorium Duration: 35 A quadraphonic live performance based on modular synthesizer and prerecorded tape loops. The audience will be invited to engage in active listening and may also contribute to the sound environment using their bodies and/or simple objects provided at the entrance. One possibility currently being considered is to give each audience member a table tennis ball to use as a sound object. The live set is a brand-new solo performance. Nicola Ratti is a multifaceted musician and sound designer who has been active for years in various experimental fields. His sound production creates systems that take shape from repetition and dilation through performances, concerts or sound installations, with a particular focus on the construction of environments that gravitate in relation to the space and architecture we inhabit and by balancing the emotional and perceptual orientations to which we are accustomed. Born in Milan in 1978, he has performed solo or in other ensembles in Europe, North America, Russia and Japan, and his albums have been released by several international labels. He has to his credit as a musician collaborative projects such as Bellows with Giuseppe Ielasi, NR/MA com Masato Egashira, What We Do When in Silence with Alessandra Novaga and Enrico Malatesta, Superpaesaggio with Enrico Malatesta and Attila Faravelli. As a composer and sound-designer, his works cross different fields starting from theater, as the main context, to cinema via performing arts, radio works and sound-art in international contexts such as theater festivals, biennials and museums. SFor many years, he has curated and organized events that focus on the relationship between sound, space and the body. Member and co-founder of Standards, a cultural center active in Milan between 2015 and 2022, and now of LL Edizioni, a platform for artistic and cultural productions. \ nicolaratti.com ” \ Instagram: @nicolaratee

18.10.2026, 17:00 Location: Sasuntsi Davit Gallery Duration: 60 Tu tun is a sound art performance. The title is a play on words between to tune and the Spanish onomatopoeia tu tun, which imitates the sound of a trumpet or drum. During the performance, the artist assembles, strings, and tunes a custom-built electronic instrument housed inside a ukulele. Every touch, vibration, and gesture is captured and transformed through real-time sound processing, making the construction and tuning process itself the musical composition. Rather than presenting a finished instrument, the performance reveals its gradual emergence, allowing the audience to experience the fragile transition from silence to resonance, where acoustic gestures and electronic processing merge into a single evolving sonic landscape. Diego Liedo is a Mexican artist, electronic instrument designer, and programmer whose work explores the relationship between physical phenomena, custom-built technologies, and listening. He develops his own instruments by combining woodworking, electronics, embedded systems, sensors, and real-time sound synthesis. He uses recycled materials, including wood from pruning and naturally fallen trees, integrating an ecological approach into his practice and open code practices. His installations and performances invite audiences to experience sound as a material process shaped by movement, resonance, and interaction. Liedo creates open-source systems where acoustic and electronic elements influence each other, revealing hidden behaviors in materials and devices.

18.10.2026, 19:00 Location: Special Events Auditorium performance, 2026 Duration 30 Flicker Moth is a performance of musique concrète created using consumer-grade tape players. It is an exploration of unstable machines and the various lo-fi capabilities of magnetic tape. Turmeric Acid creates soundscapes on the verge of the natural world and mechanical sounds, where the boundaries between them become fluid. Noises of crickets, moths, rusty metal parts, voices heard from a distance. The usually familiar begins to sound alien. The performance is a projection of “psychedelic eyelid movies” — visions created after staring at bright light with closed eyes, flickering colours in a dark room. It evokes images and visions through sonic shifts. The core of the concert is the stuttering rhythm of tape loops. Music falls apart, implodes. The Walkman is chewing a tape. Turmeric Acid is Scotland-based, Poland-born Michał Fundowicz — a listener, music enthusiast, and experimental musician. His main interest is exploring the sonic properties of tape machines and improvisation. Fundowicz is one half of Free Magic Show and a member of Billa Ensemble. He has collaborated with such artists as Tim Olive, Diurnal Burdens, Matt Atkins, Bardo Todol, and uoerhe. His music has been released on labels such as Falt, phncrs, Steep Gloss, Kirigirisu, and Strategic Tape Reserve. He runs the tape label Molt Fluid, through which he focuses on experimental sounds from around the world. He has performed solo and with different groups across the UK, as well as in Japan, Hungary, Austria, and Bulgaria. He is a cassette culture enthusiast — for several years, he hosted a radio show about it on Budapest-based Lahmacun Radio.

18.10.2026, 20:00 Location: Special Events Auditorium Duration: 40 Based on their ongoing research and prac\ce in analogue processing and crea\ve sound rou\ng as a duo, IEOGM's concert forms an evolving communica\on network between (un)extracted electro-acous\cs and electronics, percussive and microtonal sounds—oscilla\ng somewhere between improvisa\onal immediacy and score- based composi\on. Employing found objects from industrial technologies used for excava\ng porous and manifest undergrounds, IEOGM transforms them into resonant bodies with unstable sonic poten\al. A specific selec\on of resonant Serge modular filters, equalizers and frequency shibers interact with the rich harmonics and dissonances of materiality in space and on reel to reel magne\c tape, stretching layers of temporality and shibing modes of percep\on. IEOGM is the duo project of Marie Vermont and the concept horse, founded in Vienna in 2022. Working with a shibing range of electronic, electro-acous\c and tape-based objects and devices, IEOGM has released numerous albums and collabora\ve composi\ons on labels such as Molt Fluid, Philatelie, Beach Buddies Records, Chocolate Monk, Steep Gloss, eë edi\ons, Soundholes, Hard Return and Breton CasseAe—and has performed live across Europe, UK, Japan and the USA. Both members have ac\ve solo projects and are part of the improvisa\onal quartet BILLA ENSEMBLE.

25.10.2026, 19:00 Location: Special Events Auditorium Duration: 60 The metronome is the purest emblem of measured time—a mechanism built to eliminate error and hold a single tempo with total fidelity. Rhythmic Drift takes this instrument of imposed order and places it in the one condition it was never built to survive: company. Ten mechanical metronomes are set in motion across the space, each at a different tempo. None are synchronized. None are meant to be. As their spring mechanisms unwind, each metronome drifts, almost imperceptibly, from its original tempo—a small physical entropy that belongs to the mechanism itself, not to any score or simulation. The piece does not illustrate entropy, the entropy is the core of the piece. The performer moves through this field with a directional microphone, deciding in real time which voices enter the mix. This is not documentation—it is listening as composition, an act of selective attention among many competing, decaying pulses. The captured signal is sent live to the composer, who builds a responsive electronic layer around it—not scoring over the metronomes, but answering what the microphone brings forward, drawing out the interference patterns and phantom beats that exist between sources but in none of them individually. As the piece unfolds, the spring-driven mechanisms exhaust themselves one by one. Voices fall away—not by directorial decision, but by physical necessity. The work has no fixed ending, it ends when the system runs down, the way any living process does. Anastasia Koroleva is an interdisciplinary artist and researcher. Her artistic research explores the relationship between humans and technology, the development of spatial installations and sound machines, the role of nature and other agents in the creative process, and the influence of technology on sensory and cognitive perception. Her work has been presented at ZKM | Center for Art and Media Karlsruhe, CTM Festival, Ars Electronica Garden, CYFEST, Floating Sound Gallery, the Polytechnic Museum, the Tretyakov Gallery and other international institutions and festivals. Currently based in Tenerife, Spain. Alex Pleninger is a composer, sound artist, engineer, inventor of musical instruments. Since the late 1980s he has written and performed electronic compositions, and composed music for theater and film. In 2005 he recorded an album with Ethnica Music Project, and took part in international tours by the group. Since 2010, he has worked as a composer with the independent studio SounDrama. In recent years he has combined academic electronic sound with chiptune. He took part in re-releasing the Soviet synthesizer Polyvox. In 2015 he founded the company Keen Association that develops innovative sound instruments.