Sweet Spot w/ Katarina Gryvul

28 Nov 2025

20:00

Solitär Mozarteum University

Sweet Spot w/ Katarina Gryvul

Mahak Sadeghzadeh - Pixel (2025) for electronics

A low vibration moves through a landscape of broken textures and faint resonances. Sounds emerge as fragments. Unstable, distorted, constantly shifting in weight and colour. They collide, dissolve, and reappear, leaving behind thin traces, like dust in motion. The air is thick with interference, as if the space itself were trembling under the pressure of sound. Within this turbulence, tiny sonic particles begin to form patterns, fleeting constellations of energy that vanish as soon as they are perceived. Each fragment feels like a pixel on the edge of disintegration, multiplying and collapsing in the same instant. There is no fixed image, only the continual blur between clarity and noise, between one frequency and the next.
The piece breathes through contrasts: density and stillness, darkness and sudden brightness, vibration and suspension. Glitches flicker like sparks inside a storm of low frequencies, revealing brief glimpses of fragility hidden within distortion. The atmosphere grows richer and heavier, yet remains uncertain, as if it were listening to itself while slowly unraveling. In this space, sound becomes tactile, not something to be followed, but something that surrounds, absorbs, and transforms. It unfolds as a living surface of shifting fragments, where every resonance contains both decay and renewal. Nothing seeks resolution; everything stays in motion. What remains is a field of echoes; a pulse that continues beyond its own disappearance, like a pixel still glowing after the screen has turned dark.

Daniel Puerto - BIOLens

BIOLens is a multimedia piece for video and multichannel sound that reflects on cycles of violence and vulnerability across history. Built from twelve archival photographs, it traces a path from the abstract to the figurative, gradually accumulating density and intensity — from materiality and texture to famine, war, and genocide. Through close- ups, pixelation, and fragmentation, the images are displaced from their documentary function and opened into a space of reflection.
The sonic layer unfolds in parallel, shaped by noise, drones, glitches, and percussive bursts that mirror the fractures of the visual material. Both sound and image follow a compressive trajectory, tightening as the work advances. Rather than telling a story, BIOLens invites the audience to confront the historical abuses of the Global North toward the Global South, and of dominant powers over vulnerable peoples, forms of violence that, though transformed, continue to resonate today.

Joan Tan Jing Wen - The Archival of Memory in Skin

I am a conflux of cultures --- shaped by environments and circumstances I do not fully understand. A living juxtaposition of beliefs, a contradiction of behaviours. An oxymoron. I’m learning to hold all of these parts together.
The piece is built from sound fragments that remind me of childhood: Hokkien soap operas and theatre shows my grandma watched, the voices of children at the playground where I once used to play, the creaking of old treadle sewing machines, the static of ageing radios, the ticking of analogue clocks, the English news on TV at 8pm usw. These unlikely combinations of sounds flitter between one another, at times dissonant, jarring even, but always coexisting.
When the physical world inevitably fades, I hope their voices will still remain.
I dedicate this piece to my grandma, whom I affectionately call Ahma.

Special credits to daveincamas for the sound of a clock chime I could no longer find.