Martina Berther ist ein spannendes Sammelsurium an Sounds, sphärisch und wuchtig, zwischen Wind und Wand, frei improvisiert am Elektro-Bass. Musik mit Strom und gegen den Strom.
Martina Berther - electronic bass/effects/objects

IFS is formed by multiple sound sources interacting. Some electronics, others acoustics, coming from instruments and various resonant objects which pass (or not) through contact microphones. They come together in a hybrid sound material somewhere between improvised electro-acoustics, noise and contemporary chamber music.
Juliette Adam — clarinets
Lucien Rapilly — electronics/PureData
Quentin Conrate — incomplete drum kit

˚•̩̩͙✩•̩̩͙˚＊·̩̩̥͙
ׂׂૢ་༘࿐ -ˏ͛1n sOlitude, my h3art rema1ns frozen, am1dst the hardstyle beats that pulse and fl0w °°••....••°°
̥Wandering the silent streets, the boulevard's echoes blend with ambient undertowsˏ⸉ˋ‿̩͙‿‿̩͙
⑅Chilled to the bone, I embrace the shadows, where melodies of sorrow and solace intertwine ❀。• ₊°。 ❀°。
‧̫‧Time's relentless march echoes, dragging me deeper into the trance of dreams divine ⁂̩̩͙͙ ⁑̩͙̩͙ ⁎̩͙
⊹I am the arrOw, swift and true, propelled by the rhythm's electrifying beat ┊ ┊ ⋆˚ 
‧̥̥No doubts linger, no hesitations ensnare, as the bass drops and the melodies repeat •,¸,.·' '·.,¸,•
ˏ͛-Come, join me in this melancholic bliss, where hardstyle and ambient music meet. » ׂׂૢ་༘࿐
˚•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙
103110 .

Brooklyn Bridge is a dj project by artist Elin Gonzalez. In her sets she explores interplays of irony and subversions of mainstream culture. Mostly she prefers to organise and play at autonomous events next to highways under the trees.

In my work I'm portraying corrupted, idyllic and wretched facades. Looking for metaphors, garlands, shelleyan orphans and mapping places you knew before they disappeared. Whether it is in playing dusty music in clubs under the name silice or producing artworks, my work seeks for empathy and darker sceneries. I'm co-organising Endless Bazaar, a project channeling contemporary music in Lucerne. My music taste is influenced by variations of traditional dream pop, folk, drone and grunge carried through independent experimental scenes.

the passion for music and the urge to understand its core has always accompanied me. i attempt to create an isolated room that allows you to embrace lostness and reminds you of your favorite dream.

A workshop is led by Nick Klein, a musician and artist working in sound and art with a lean towards the social potential in those modalities as they interact. Nick has recorded a large amount of music for tape, CD, digital file, and vinyl editions for music labels around the world, as well as running his own amorphous label project PL (primitive languages, Psychic Liberation, etc). He is currently located in Berlin, and has performed and shown works in contexts and festivals like The Amant Foundation (USA), SARA’S (USA), MOMA PS1 (USA), De La Cruz Collection (USA), Volksbühne (DE), Empty Gallery (HK), Berghain (DE), Tresor (DE), Seendosi (SK), Cafe Sismo (CDMX), Cafe Oto (UK), Folkteatern (SE), Burning Fleshtival (USA), and Herrensauna (DE).

‘How do politicized cultural economies and dialogues manifest in our artistic material and formalist realities? How do we define the braided utilities of sharing, spatial dynamism, and collaboration? Where do our preconceived ideas and entitlements become conceptual blindspots and, conversely, when do they become strengths? How does authorship and duration service art on a micro and macro scale, and what economies and markets prosper from these conditions?’

During the workshop the class will create a [sounding] exhibition in WURM with objects they bring in the morning and document the exhibition by the end of the day. Participants are encouraged and required to bring readymade sculptures, amplification systems, televisions, lumber, tape, paper, garbage, animals, humans, books, fabrics, instruments, food, and whatever they feel can express their artistic agendas thoroughly. Do not bring materials that are too precious to you, as they will function to antagonize the other objects. Participation is free for everyone, no prior relevant experience is necessary.

Apply via the link: forms.gle/8kTrPJUTTjp3bBeg7

Born in Paris in 1995 of Iranian parents, Cinna Peyghamy studied engineering, musicology and musical IT in Paris, Montreal and Saint-Étienne. In parallel with his musical activity under the name Cikkun, he has developed a practice as a sound artist. His work focuses on the nature of the instrument and the way it interacts with the player via a three-step approach: first the construction of a new instrumental device (birth), then the assimilation and development of a musical vocabulary (learning), and finally the performance (the rite of passage into adulthood). By repeating this process, Cinna Peyghamy makes his artistic practice into an initiatory ritual that is constantly renewed. Since 2019 he has focused on the hybridisation of acoustic and electronic instruments, combining Persian percussion (Iranian Tombak) with a modular synthesizer.

Rosso Polare is Cesare Lopopolo and Anna Vezzosi, a contemporary improv duo from Milan, Italy, drawing from their complementary environments (the Italian countryside vs the city) to create a highly personal musical language merging field recordings, folklore and audio manipulation.
Having both studied visual arts, their approach is equally rooted in a deep theoretical background, as well as an intuitive élan, while focused on researching counter- narratives regarding the depiction of the animal world. They strive to normalize the levels between human-produced music and natural biophony by making the listener aware of their indigenousness to nature.
In 2020, they released their debut Lettere Animali via the Moscow-based label and collective Klammklang, followed by Cani Lenti via Cafe Oto’s in-house label Takuroku and later reissued by ADN Records. They played at festivals and venues across Europe, including Cafe Oto, Météo - Mulhouse Music Festival, Klang - Roma, Spazio Contemporanea - Brescia, BääFest - Milano as well as online events such as The Quarantine Tapes by Chicago’s Experimental Sound Studio.

Norbert Möslang operates at the interface between
visual arts and music. He makes use of unused
sounds and uses the laws of physics and electronics to make spaces resound. He became known with with his "cracked everyday-electronics" in the duo "voice crack" until 2002, since then he has been touring solo and with poire_z, king übü örchestrü played with borbetomagus, otomo yoshihide, günter müller, erikm, jérôme noetinger, lionel marchetti, jim o'rourke, kevin drumm, jason kahn, oren ambarchi, tomas korber, keith rowe, I-sound, toshi nakamura, maria, keiichiro shibuya, aube, carlos zingaro, christian weber, florian hecker u.o.
Möslang is internationally regarded as a pioneer of so-called "hardware
hacking". In addition to performances in Japan, Europe, North and South America
he has received several awards for his work as a film composer.
awards for his work as a film composer.

Nik Colk Void is an electronic musician and artist, based in the UK with a vast reputation in experimental shapeshifting and collaboration. Void’s interests lie in the unconventional encounters with her tool, both analogue and digital, as a means of expression. Voice, Guitar, and Modular euro-rack systems are her key instruments engaging in a new language using extended technique and cut-up sampling through synthesis. As a result, the blends of her compositional tracks lean towards techno, club, experimental and noise. Bringing a unique perspective from her background in visual arts, Nik has played a pivotal role as the guitarist and vocalist for Factory Floor, shaping their avant-garde and electronic sound. Collaborations with notable figures like Cosey Fanni Tutti and Peter Rehberg, and visual artists such as Haroon Mirza and Philippe Parreno. Her debut Bucked Up Space was released via Editions Mego in April 2022. Bucked Up Space combines Void’s love of improvisation with the driving force of beat-driven music, drawing from her experiences performing in galleries and clubs across the UK and Europe. The album is shaped by the diverse contexts of these venues, showcasing the versatility of her setups tailored to engage with variable environments. The process leading to this release emerged from the openness of collaboration and the courage of improvisation,
steadily teasing out a language with sincere purpose and intent.
Over the last few years, presented at international festivals and institutions worldwide, such as Mutek, Sonar, Primavera, Unsound, Semibreve and Dark Mofo Festival.