pic: Aurelie-Raidron

Camila Nebbia is a saxophone player, composer, improviser, visual artist, curator and educator debasing hierarchical systems by exploring migrational counterpoints through multiple, but minimally separated, mediums. From Buenos Aires, Argentina, based in Berlin, Germany, the multidisciplinary artist layers her practice through the creation and destruction of archival memory.

Has released as a band leader and solo performer “A veces la luz de lo que existe resplandece solamente a la distancia” (Kuai 2017), “De este lado” (Club del disco 2019), Aura (ears&eyes records 2020),“Corre el río de la memoria” (ramble records 2021) and “Presencias” (Sound Holes 2021) “Una ofrenda a la ausencia” (Relative Pitch Records 2023), “La permanencia de los ecos” (577 Records 2023).

Played and recorded with many artists of the international scene such as Valentin Garvie, El devenir del río, Burka, Paula Shocron, Barbara Togander, Patrick Shiroishi, Paul Pignon, Vinnie Sperrazza, Katt Hernandez, Kenneth Jimenez, Lesley Mok, Violeta García, Axel Filip, Susana Santos Silva, Tom Rainey, Elsa Bergman, l’ Arfi collective of Lyon, Joanna Mattrey, Micheal Formaneck, Vincent Drombowski’s Flow regulator, Sofia Borges, John Hughes, among others.

Co-creator and curator of the collective interdisciplinary group and improvised music series “La Jaula se ha vuelto pájaro y se ha volado”, the interdisciplinary festival “Guillotina Fest'' and creator and curator of the streaming concert series called “A door in the mountain”. Runs the concert series and independent label “Disfigured Rivers” based in Berlin.

Participated of many festivals around the world such as Winter Jazz Fest NYC co-presented with M3 (U.S), Buenos Aires Jazz Festival (ARG), Lima Jazz Festival (PE), Diskurs Festival (DE), Ultima Oslo (NO), among others, and has assisted to several residencies such as, ART OMI (NYC), SIM (NYC) Jazz & Creative Music dictated by Tyshawn Sorey and Vijay Iyer (CA), Konvent Zero (ES) UNCOOL (CH), Ensemble Evolution (US), CirkusVranen (SE), CCK with Tim Berne, Marilyn Crispell & Ben Goldberg (AR), among others.

Studied classical saxophone at the Conservatory "Astor Piazzolla", jazz at the "Manuel de Falla" Conservatory, Film Direction at the Universidad Del Cine, and the master degree program “CoPeCo Contemporary Performance and Composition at Estonian Academy of Music and Theatre in Estonia, Royal College of Music in Stockholm in Sweden, National Superior Conservatory of Music Dance of Lyon in France and Hamburg University of Music and Theatre in Germany.  Was part of the second cohort of Mutual Mentorship for Musicians M3 created by Jen Shyu & Sara Serpa 2021, and was a curatorial fellow at the Experimental Sound Studio of Chicago 2022.

Camila Nebbia is endorsed by D'Addario Woodwinds.

https://www.camilanebbia.com/

Credit-Michaela-Mahle

Klaas von Karlos is one of the musical aliases of filmmaker, writer, and audiovisual artist Jon-Carlos Evans. He is a graduate of Webster University (BA, Film Production) and the City College of New York (MFA, Media Arts Production). His audiovisual works fuse twisted samples of capitalist, western & religious agitprop against images and sounds of the Afro Diasporic experience with syncopated industrial drums, ambience, and dialectic imagery to create a sensory experience that is part sonic essay and dissonant revival.


In 2009, he founded the audiovisual collective ReVerse Bullets in Brooklyn with original members Marcus Pinn and Aedelwulf. The debut release, 2012’s “Drapetomania!” was nominated for “Best Mashup” at the MashRome 2013 Film Festival. 2020’s “US” from the EP “Stockholm Syndrome” was selected for the New York Live Arts exhibition “Curating the End of the World,” organized by Reynaldo Anderson, Tiffany E. Barber and Stacey Robinson at the Times Art Center.


As KVK, he has also collaborated as  a member of the projects BIINDS, Naked Sweatshop (w/ Kyoko Takenaka), Divan Rouge (w/ Ulises Labaronnie), and OXI (w/ Ememe). From 2013 - 2019, he curated the GLITCH performance series in various venues in Berlin and NYC, hosting such artists as Jessica Ekomane, Onyx Ashanti, Sofia Portanet, Sara Persico, Eiliyas, Infinite Livez, et al. As a subdivision of Perfect Entropy Productions, GLITCH also operates as a music imprint, releasing albums from artists such as Munsha and R.J. Thyme.


Past residency selections and support include Elektronmusikstudion, Harvestwork Media Center, CTM/Transmediale, Ableton MIDI Hacklab, and Goethe Institut Kamerun. Notable past releases include “Dreampop Dysphoria” (as ReVerse Bullets), “The Mansa Musa Affair,” “Divan Rouge,”  and “The I, Shinjia Mixtape”(as Naked Sweatshop).


He also currently works as the Programme Lead for the Creative Production (Film) MA at Catalyst Institute for Creative Arts & Technology in Berlin.


https://linktr.ee/ReVerseBullets

Born in Jakarta, since early Teenager has been involved in Vibrant Jakarta DIY Subculture scene either hosting events or being Performer itself, after moving to Berlin still continues taking part in Subculture scene and Political activism, in and out Punk bands and organizing dozens of events.

Elsa M'bala was born in Yaoundé, the capitol of Cameroon. Her family moved to South-West Germany, where M'bala visited an international school and learned to express herself in various languages. In 2009 M'bala co-created the Pan-African feminist poetry duo „Rising Thoughts" . From 2012 to 2016 she moves back to Cameroon where she developed a new artistic language, between visual and sonic explorations. Her current work uses voices and online samples in the form of transcoding, code switching and algorithms patterns, building a fine print of electronic griotage reaching from the past into the future. Mixing analogue and digital sound machines as well as electronic and acoustic instruments to experiment with speeches, rituals and poetry. Elsa M’bala work Addis’63 is a sound performance that explore the complexities and dualities of life, always torn between the aim to balance the inner with the outer world, the spiritual quest for identity. Using the total submergence of electronic sound and the rhythmical properties of Ekang/Bikutsi rhythms of the Beti people of central Africa to help us reconnect with the mythological, the spiritual and the imaginary. As the philosopher Mudibe said, Africa is an invention, for that matter Africans have to (re-)invent themselves. Elsa M'bala performed her writings and music at various events throughout Europe and the African continent. From Centre d'art contemporain de Bretigny, Bandjoun Station (CMR), Engagement global (DE), Aperture Magazine (USA), Contemporary And (C&); (DE), New Art Exchange Nottingham (E), Institut für Auslandsbeziehungen (ifa);(DE), Goethe Institut Kamerun, Centre Culturel Francais du Cameroun, Alte Oper Frankfurt, KW Berlin, heroines of sound festival Berlin, Augmented reality festival Darmstadt , She is one of the incubators Winners for Berlin Community Radio 2017 and had a regular radio show on the platform before it closed in 2019. She is currently in a residency at Ker Thiossane in Dakar, Senegal. “... Another example is her more recent work: both audio pieces titled Imposer le Savoir and Je Wanda. These were presented at Still unresolved and very much ongoing, a group show curated by Christine Eyene in London in 2017, by bridging Cameroonian sonic heritage, voices, acoustic music with digital sound, Elsa M'Bala addresses the protests by the English-speaking part of Cameroon against their marginalization by predominantly Francophone structural systems in place: a linguistic and political legacy of French colonisation. Now based between Berlin and Yaoundé, Elsa M'Bala aka A.M.E.T. is one of the rare female sound artists of African descent. By using technology as an empowering tool and through her own keen observations, she explores further the interconnections between race, gender, technology and spirituality. Specifically in times of acute racial crisis in Europe and in the US, while the dominant discourse reproduces the patterns of disconnected narratives, exclusion, and invisibility. Elsa M'Bala shows us that marginalized bodies and voices can be (re)connected through shared collectivities.” Text written by Aicha Kaleko for the Berlin biennale 10

www.soundcloud.com/elsambala IG: anabambalaelsatatiana www.elsambala.com