Sounds Now: Curating inclusion

12 November 2021 | 13:30 - 14:30Kleine zaal | livestream

A discussion on inclusion within the world of sound art and New Music takes place under the auspices of Sounds Now, a network of European music festivals and cultural music centres that promote contemporary music, experimental music and sound art. Panel speakers are a.o. Raquel Castro (PT), who has curated Invisible Places at the Azores and Lisboa Soa, a participatory sound art festival in Lisbon, and Christos Carras (GR), the Executive director of the Onassis Cultural Centre in Athens, who is a driving force behind Sounds Now.

Christos Carras (executive director, Onassis Cultural Centre, GR)
Carras was born in London (UK) in 1962. He read philosophy at Cambridge University and then at the Sorbonne where he earned his PhD. From 2000 onwards, he has been working in the cultural sector, initially as the Project Manager of the EU funded MediMuses network. In 2006 he became General Manager of the B & M Theocharakis Foundation for the Fine Arts and Music. In 2009 he joined the ONASSIS FOUNDATION as the Executive Director of the ONASSIS STEGI (Onassis Cultural Centre). He is also responsible for the elements of the music program and other interdisciplinary projects, developing European networks and the sustainability program.

Raquel Castro (soundscape researcher, documentary director, Sound Art director, PT)
She is the founder and director of the environmental sound art festival Lisboa Soa and a post-doc researcher at the Centre for Research in Applied Communication, Culture and New Technologies in Lisbon, developing projects that investigate the aural experience of urban territories.
Raquel was selected by open call to curate the Sounds Now project “Sound Art in Public Spaces”. Stretching over 2 years, the project will bring the audience to public spaces in five European cities and create an auditory experience that provokes human engagement towards the environment and one another. Sound installations from various artists will enable new perceptions of public spaces and create awareness towards the need for change on a societal level.

Maud Seuntjens (researcher and curator, BE)
Maud Seuntjens works in the field of sonic cultures, listening and (transdisciplinary) art with sound, which is socially, culturally and/or politically relevant. She works as programmer and researcher for Sonic Acts and as artistic coordinator at Musica, Impulse centre for music, where she is, among others, curator of Klankenbos and OORtreders Festival. She graduated in 2012 as a historian at the University of Ghent with the master thesis: A-way of the dead body: a topography of mourning and burial rituals among the Turkish Community in Ghent. From 2013-2016 she worked at BNA-BBOT, an audio collective working on auditory memory and the potential future of Brussels.

Monika Żyła (musicologist, Sounds Now, PL)
Monika Żyła is a musicologist, cultural theorist, author, artistic director, and pianist. She is working on her Ph.D. dissertation “Contemporary Music and Its Others: Female Composers, Gender Politics and Constructions of National Identity at the Warsaw Autumn Festival” (working title) in the Department of Musicology and Dance Studies at the University of Salzburg. She gives workshops and lectures on gender issues in contemporary music and sound art both in the academic and festival context. She has published articles in Glissando, Ruch Muzyczny, Dwutygodnik, Odra, Krytyka Polityczna, Circuit-Musiques Contemporaines, and Contemporary Music Review. Her peer-reviewed article “The Need for Otherness: Hispanic Music at ‘Warsaw Autumn’” was published recently in Contemporary Music Review, Volume 38 Issue 1-2. Her first peer-reviewed article “Cornelius Cardew behind the Iron Curtain” appeared in the Canadian musicological journal Circuit — Musiques Contemporaines (Volume 28, Issue 3) published by the University of Montreal. She is an author and producer of the series of podcasts about contemporary music called “Radio w Kuchni”. In 2018/2019 she directed and produced a series of 24-hour staged performances VEXATIONS: REVISITED based on Eric Sate’s Vexations from 1893.

This panel will also be streamed.