Ute Wassermann, voice artist, composer, improvisor is known for her extraordinary, many-voiced and extreme vocal sound-language, which she has brought into experimental/contemporary sound in diverse ways. She is engaged in the area between composition and improvisation, sound and performance art as well as in free improvisation. She studied visual arts (sound installation, performance art) at the Academy of Fine Arts in Hamburg, and subsequently visual art and singing at the University of California, San Diego. Ute´s singing seems to be disconnected from the voice creating a soundworld of birds, machines, electronics. She masks her voice using bird whistles, palate whistles, speaker objects, resonators. Numerous performances as a vocal soloist in festivals, galleries and clubs throughout Europe, Australia and Asia. Premieres of numerous works by composers especially written for her voice. Performances with different bands and adhoc with sound-artists like Birgit Ulher, Phil Minton, Thomas Lehn, Martin Blume, John Russel, Raed Yassin, Michael Vorfeld, Les Femmes Savantes. Recent commissions for compositions by Ryogoku Art Festival, University of Amsterdam and Poetica Sonora, Mexico City. She has received several grants like a residency at the Civitella Ranieri Foundation in 2015. http://femmes-savantes.net/lesfemmessavantes/ute-wassermann/ https://vimeo.com/user20410741

Jorge Vicario (Madrid, 1989) is going to present his seventh piece of the series ''movements for elastic tape''. http://jorgevicario.tumblr.com

Richard Garet interweaves moving image, sound, expanded photography, and multimedia performance. Garet’s pieces, whether conceptual in origin or stemming from ontological investigations of material and space, are informed by the background noise established as the collective experience of the world that surrounds him. Garet seeks to invert the normative function of this background noise, drawing it up from unconscious status to active presence. He finds further inspiration from observing isolated situations of everyday life and from material interactions that incorporate problems of context, technology, defunctionalization, commodity, and environment. These developments present immersive situations that draw attention not only to the processes of reception-and-perception but also articulate the artist’s interest in time-based input and affect.

Richard Garet holds an MFA from Bard College, NY. Recent projects include RED-Splice, Fridman Gallery, NYC; SOUND ONE, Cindy Rucker, NYC; Periscope, Zipper Gallery, Sao Paulo, Brazil; Screen Memory, Galerie Burster, Berlin; Midnight Moment, site specific work created for the electronic billboards of Times Square, NY; Alusiones, Carmen Araujo Arte, Hacienda de la Trinidad, Caracas, Venezuela; Meta-residue: Input Material, Space, Studio 10, NY; Theorem: You Simply Destroy the Image I Always Had of Myself, Maná Contemporary, NJ; Adrenalina, Red Bull Station, Sau Paulo, Brazil; International Biennial of Contemporary Art of Cartagena de Indias, Cartagena, Colombia; Bioderivas, Museo de la Naturaleza y el Hombre, Tenerife, Spain; Queens International, Queens Museum of Art, Queens, New York; Soundings: a Contemporary Score, Museum of Modern Art, New York; Extraneous to the Message, Julian Navarro Projects, NY; The Spacious Now and the Scale of the Instantaneous, Studio 10, NY; 5×5 Real Unreal, Museum of Art Acarigua-Araure, Venezuela; EAC: Espacio de Arte Contemporáneo, Montevideo, Uruguay; Fine Arts Museum of Montreal; San Francisco Museum of Modern Art; Museum of Contemporary Art of Barcelona (MACBA), Barcelona, Spain; Art Museum of Puerto Rico, San Juan, Puerto Rico; and El Museo del Barrio, NYC. His sonic constructions have been published through sound art labels such as 23five, And-Oar, Non Visual Objects, Winds Measure Recordings, Unframed Recordings, Con-V, Leerraum, White_Line Editions, OBS, Line Imprint, and Contour Editions. http://www.richardgaret.com/

API (Biederman+Peljhan)
Matthew Biederman works across media and milieus, architectures and systems, communities and continents since 1990. He creates works where light, space, and sound reflect on the intricacies of perception and policy. Since 2008 he is a co-founder with Marko Peljhan of Arctic Perspective Initiative, dedicated to fusing traditional knowledge through new technologies towards greater autonomy of the circumpolar region. He has served as artist-in-residence at a variety of institutions and institutes, including the Center for Experimental Television on numerous occasions, CMU’s CREATE lab, the Wave Farm and many more. His work has been featured at: Lyon Bienniale, Istanbul Design Bienniale, The Tokyo Museum of Photography, ELEKTRA, MUTEK, Montreal Bienniale (Musee des Arts Contemporain), Bienniale of Digital Art (BIAN, Montreal), Artissima (Turin, IT), among many others.

Marko Peljhan is a theatre and radio director, conceptual artist and researcher. He founded and co-founded several still active arts organizations in the 90’s such as Projekt Atol and one of the first media labs in Eastern Europe LJUDMILA. From 1994 on he worked on Makrolab, a project that focuses on telecommunications, migrations and weather systems research in an intersection of art/science/engineering; the Interpolar Transnational Art Science Constellation and the Arctic Perspective Initiative. He is the recipient of many prizes for his work, including the 2001 Golden Nica Prize at Ars Electronica with Carsten Nicolai and his work has been exhibited internationally at multiple biennales (Venice, Lyon, Istanbul, Gwangju…) and festivals, at documenta, ISEA, Ars Electronica and museums and art institutions worldwide (YCAM, ICC-NT, PS.1. MOMA, GARAGE…). He serves as professor and director of the MAT Systemics Lab at the University of California Santa Barbara, the coordinator of international cooperation of the SPACE-SI Slovenian Centre for Space Sciences and Technologies and editor at large of the music label rx:tx. In the radio spectrum he is known as S54MX.