7ABBABAH I - LiveAV Performance, 30’mins, Sonic Acts Biennale 2026, 2026Lam7a/ La7dha/ Wa 3boor - Theatre Solo, 34’mins, Come Together 11, 2026Sound of 'Non-User Friendly - by Sondi - Composition for Performance, 23'mins, Amsterdam Art Week 2025, 2025Work on Piano for 'Nobody Wade Never Too Much - by Geo Wyex’ - Sonic Support/Recordist - Part of Exhibition, 2024.Sound of 'Good Job Good Boy || - by Eloy Cruz Del Pedro - Composition for Performance, 2024Sound of 'The tides of Metallic Sea” - Composition for Film, 9’mins, Eye Film Museum, 2024.Composer and sound artist of 'Rock to Jolt [ ] Stagger to Ash - by Alexis Blake’ - Prix de Rome 2021/Holland festival 2022 , 45'mins, 2021No. 69 or F**k Me it is Yet another Loud Feminist or A Dirty Page of the Diaries of an Alien - Fixed Media Composition, 37'mins, 2022.
ART WORKS
List of Works Included:
7ABBABAH I
30‘mins, Live AV Performance, Sonic Acts Biennale 2026Sonic Acts Biennale 2026 25’ mins
Footage by
Levien Getahun Tsegaye Wierenga LISTEN - Recordings Made by Sonic Acts
Overwhelmed with owe to have had the opportunity to present my work 7ABBABAH I Thursday the 12th at @sonicacts biennale, and extremely honoured to have shared the line up with non less than the greats @mounirnancy and @vviirruus2020sounds
This AV live performance is first in a series of works using cassettes to send letters to those whom I love and now reside in Eden. 7abbabah (Habbabah) translates to grandmother in my mother’s dialect in Syria, a spread of land referred to as AlJazeerah, between Tigris and AlFurat rivers in the north-east of the country. This first iteration of the performance addresses my grandmother Shamsah god bless her soul and may she rest in peace.
LAM7A/LA7DHA/WA 3BOOR
32’ mins, Theatre Solo, 2026Here is a lifetime, a frozen frame, a glimpse, a potential too confused to adjoin the utopic, too true to un-touch. Have you met an Arab?
Flirting with the impossibility of completeness, in self defiance and inflicted revolt, the performer is here vis-á-vis a selected set of stereotypical cultural and political signifiers, arranged to disobey their reductive nature in the eyes of the spectator, and installed to confide the performer's own apathy to them.
In three scenes, the performance opens up a dense casket of images, thoughts, controversies, and prejudices, stitched together in an implying enactment with and through them. Where is someone, really, when the margins are too many to be traced to an intersectionality where one can be located?
Credits: Dramaturge: Sarjon AzouzVideography: Levien Getahun Tsegaye WierengaVideo edit & Mixing: Anas QadamaniCards & Title Design: Benze Da Reamwith Special thanks to:
Productiehuis Nowhere,
Dana Claasen
Julie Henriette Ouwehand
Engaging with the process of making this work was not something that I could have done excluded from the context of my own historicity on this earth. In fact, the work addresses the very nature of that historicity: an Arab, a first-generation immigrant, a Queer, a Trans body continuously in transition, an exile, a drama queen, a diasporic tandem for a future with a heritage. This renders my work as departing from the personal at the intersection of these identifiers and venturing to meet the collective at every individual encounter with these signifiers. “Where is someone, really, when the margins are too many to be traced to an intersectionality where one can be located?”
Working closely with my dramaturge, Sarjon Azouz, someone who relates heavily to the same context I am addressing, someone who lives through it just like me, we at times took large steps and at other times micromanaged a state.
Lam7a/ La7dha/ Wa 3boor came out as complex and disidentificatory as we are. It managed to pace an ambiguous space between various states, emotions, scenes, and locales.
In Scene 1, we get a presentational glimpse, a celebration, and the reveal of the first controversy. In the next scene, one attends to a melodramatized moment where the big ontological body meets the dramaturgy of embodying what that ontology itself beholds. Here, the body becomes the epistemological reflection of the knowledge it is presenting. In this scene, the audience is brought onto the stage by means of cards handed to them prior to the performance. There are 16 variations of cards, thus each spectator sits next to someone who most likely has a different card. The cards carry quotes from the lecture being delivered on stage in this moment. Here, the audience is asked to look at the show from the perspective of what is written on their specific card.
The next scene is central to the show and is treated as the dramaturgical peak, where another controversy is revealed and tended to, caressed, loved, hated, integrated. The intensity of this scene breaks into the last scene of the show, where a cynical, almost absurd controversy is delivered. Here, the audience laughs and giggles at the ridiculousness and abrupt switch of all variables. We, at this moment, attend to the play with cultural signifiers that reveal themselves to be a very narrow space through which to understand a person. Yet everyone is confronted with a flux they are unable to deny, 'what kind of prejudice have I carried all my life?!’
Video Documentation to be released by 6th March
Sound composition for "Non-User-Friendly" by artist Sondi
23’ mins Sound Composition for A/V Performance,
Amsterdam Art week 2025, 2025Non-User-Friendly is a speculative audiovisual performance exploring the ecological, political, and cultural realities of artificial intelligence. Through a shifting dialogue between human and machine, it confronts the ghosts inherited in our technologies: the hidden infrastructures, extractive logics, and encoded biases beneath the surface of so-called “intelligence.” Combining live narration, sound, video, and interactive elements, the piece troubles the aesthetics of neutrality and challenges the audience to reconsider their complicity in technological systems they cannot see, but continuously feed. Set within a speculative interface, the work investigates the violence of systems that ask us to “prove” our humanity. Drawing from Sylvia Wynter’s formulation of “the human as praxis” and inspired by the invasive absurdity of CAPTCHA logic, this performance reclaims the moment of verification as a site of rupture:
Non-User-Friendly is a work in progress and is currently being developed in collaboration with the Sonic Acts curatorial team as part of their SPRINGS talent development programme. The performance will be presented during the 2026 Sonic Acts Biennial in Amsterdam.
Work on Piano for 'Nobody Wade Never Too Much - by Geo Wyex’
JOAN presents Nobody Wade Never Too Much, the first institutional solo exhibition in Los Angeles by Rotterdam- and New York-based artist and musician, Geo Wyex. Developed collaboratively with Constantina Zavitsanos, S*an D. Henry-Smith, Kamron Hazel, NDNMK Solutions, and Ghaith kween Qoutainy, this site-specific installation brings together new sculpture, sound, performance, ephemera, and interventions in architectural space as an extension of Wyex’s multi-year project, Muck Studies Dept. (2018–present).
2024 - Sonic Support/Recordist, Geo Wyex Solo Exhibition, Joan LA
Muck Studies Dept. Nobody Wade Never Too Much centers around Wyex’s new script, based loosely on Irish playwright Samuel Beckett’s 1952 absurdist classic, Waiting for Godot. Organized as a circular conversation between three professors of Muck Study, the text is staged with office chairs turned into sound machines. The characters and related cosmologies reverberate at the edges (i.e. in the “muck”) as they meditate on the failures and possibilities of a shared sense of identity—in the landscape, in the body, between bodies, and beyond the confines of institutional walls. Further ruminating on what political action can look like, and how organizing strategies can be enacted in our contemporary moment, the work performs a deeply inside job: it refuses separation from the conditions of race, class, and gender, but raises the possibility of connection, pleasure, and insurgency in excess of what is made legible or apparent through and by institutional structures. Audio recordings, including Luther Vandross’s 1981 hit “Never Too Much” and the sound of Wyex’s piano being gently dismantled in Rotterdam, intersect with the transmission of the professors’ voices over FM radio signal, moving in and out of both visible and less visible spaces. This convergence allows for a loose constellation of meaning that complicates the boundaries between the audience and the characters, between inside and outside. Wyex invites his audience to wade with him through the sonic, the historical, the embodied, and the shimmering, offering possibilities for new frameworks of study and transmission.
Sound Composition of 'Good Job Good Boy || - by Eloy Cruz Del Pedro’
Composition for Performance, 202429/08/2025,OperaEstate Festival. Italy.︎
31/01/2025, De Brakke Grond Amsterdam, NL
︎25/01/2025, Performatorio Bergamo, Italy
21/072024, Centrale Fies, Dro, Italy. Is a solo performance that delves into the themes of intimacy, imagination, family structures, and class difference. By gathering personal recollections of youth, queer desire, and rural life, the work explores an ongoing quest for validation, within the context of labor. Combining auto-fiction and repetition, the work dissects the mechanisms that shape our sense of self-worth, identity, and social belonging. The representation of three characters, (the grandfather, the mule, and the author himself) compose an examination of how personal experiences intersect with larger societal structures and shared narratives.
Good Job, Good Boy II
Centrale Fies, Italy. July 2021
Part of Live Works vol.11
Pics by Alessandro Sala. Video by Roberta Segata
Sound for ‘The Tides of Metallic Sea - by Aitana Sibila’
2024, sound for film, 9' mins Graduation Work of Aitana Sibilia from Rietveld Academie, 2024.
The work is accompanied by a performative installtion where during the looping of the movie Aitana gives tattoo flashes on a site- specifically designed tattoo bed.
Composer and sound artist of
'Rock to Jolt [ ] Stagger to Ash - by Alexis Blake’
2021, Sound for Perormance, Live performed.
45'mins
Swinging Speaker Design (In collab with Hala Nemr)Awarded Prix De Rome 2021
Performed at Stedlijk Museum 2021
Presneted at Holland Festival on
Wed June 15 2022
Fri June 17 2022
Sun June 19 2022
Mon June 20 2022
This work, seeks out the liberating, emancipatory power of uncensored and uncontrolled emotions.
The lament was outlawed in Ancient Greece as an oppressive patriarchal tool. Blake has her performers break the silence. They express their bodies and voices in all sorts of ways to bring out what is being repressed or censored.
Swinging Speaker. Logan, Performer/SingerNo. 69 or F**k Me it is Yet another Loud Feminist or A Dirty Page of the Diaries of an Alien
2021/2022, Fixed Media Composition, 37’ mins
Outcome of Residency at WORM studio, Rotterdam, 2021‘Through our process of becoming aware and unlearning we go from an indifferent body of profitable commerce to an active vibrant matter, which merely through its presence and by default, postures a resisting stance –even if its action was a non-presence.
We live in times where a neo-liberal ideology is so strong that it has planted its seeds inside the very crux of our personal identity. Aiming at an endless growth, an arrow on a diagram that only goes up, its product has become a personified definition of who we are. Capitalist maneuvers at these times are so penetrative and internalized that they will even try to sell you an anti-ideology anti-capitalist product for the sake of profit. Its growth has tightly co opted into our own individual growth. Its stock price is the price we pay for our freedoms of being a self or another, no matter what self it is.
This manifests itself in different ways and on different scales. We could talk about its rooted influence inside of our individual bodies, or on the collective body of our communities, or on the bigger anthropocenic scale of human against nature, and fundamentally, evidently, in everything, and everywhere.
The ways through-which this is stood against, in its many manifestations, spread widely; from a personal perspective of a body resisting through queering itself from norms, binaries, and singular static identities, to a collective march or a protest, a political presence, through art and culture, through adapting to alternative economic ways of being, reclaiming language, and much many more means that we over and over need to make ours.’
A Queer Operatic Torment