The Acoustic Heritage is a group of professionals and artists based in Barcelona and Berlin who have been working together since 2019. As partners, they have developed projects that include art installations, music production, sound poetry, sound arts, heritage conservation, and 3D/VR design and academic material. Their works have been exhibited at major sound art and experimental music spaces including IRCAM (France), MONOM studios (Germany), Experimental Sound Studios Chicago (USA) Wave Farm, NY (USA) and the Phonos Foundation (Spain). Additionally, the results of its research have been shared at prestigious institutions such as Sorbonne University, the University of Iceland, King’s College London, the University of Kent and Greenwich or Europeana.

Alba Rihe is an artist with a degree in Fine Arts and training from the Independent Studies Program at MACBA. Her work revolves around performance and the combination of artistic tools, with voice, absurdity, and the body as central axes. She has created her own shows such as TOT FICCIÓ and GATZARA, and musical projects like Las Bistecs and Venecia Flúor. She has also led educational initiatives such as Habitació 1418 and activities at MACBA. In parallel, she has published the poetry book Buguenvíl·lia and has been master of ceremonies at various festivals. She is currently developing an artist residency space and preparing her second album with Venecia Flúor.

In the early 1990s, I collaborated on Canal 39, a local television station in Barcelona. Since 1994, I’ve worked at three different radio stations: Ràdio Estel, Ona Catalana, and Catalunya Ràdio, as a sound technician and in post-production for promotions and advertisements. Since 2022, I’ve been part of the podcast department at Catalunya Ràdio. For 23 years, I’ve also directed and presented a radio show about the world of video games called “Generació Digital.” I love recording sounds and finding cassette tapes at flea markets to recover radio moments or personal memories, which I share on my blog espaciosonante.com. I collaborate on the Catalunya Música program “Tots els Matins del món,” sharing all kinds of sounds. I’m also a contributor to arxiuradio.uab.cat and a board member at Ràdio Associació de Catalunya.

Born in Manresa in 1978, currently based in Barcelona. In recent years, his work has explored situations where, through hearing and sight, he immerses himself in specific and artificial sensory environments, fostering relationships among their elements by dramatizing their singularities. Arnau approaches this practice as a study of the dynamics and expectations surrounding the act of listening, experimenting with sound from non-musical disciplines, thus decentralizing it and provoking associations that often involve observing material conditions and their origins. In his latest research, he has explored the creative potential of distraction as a tool for self-knowledge and active listening, seeking to create compositions that use the attention span as a plastic material applicable to sound and visual arts. Since 2019, he has been investigating how to manage crisis within a global context that generates uncertainty and doubt toward artistic practice itself, due to neoliberal dynamics and the climate situation. This has led to the projects Hiper-Mediacions and Resistance for Artists, both under the umbrella of the Good Praxis initiative.

Cedrik Fermont is a Berlin-based Belgian-Congolese composer, musician, mastering engineer, author, radio host, curator, independent researcher and label manager (at Syrphe, a platform whose main focus is music and sound art from Asia, Africa and Latin America) who operates in the field of noise, electronic, electroacoustic music, sound art and free improvisation since 1989.

He works as a solo artist and in numerous collaborative projects such as Axiome, Tasjiil Moujahed, and has collaborated with dozens of artists around the world like Marie Takahashi, Ira Hadžić, Sarmen Almond, Jawad Nawfal, Dora Bleu, Periklis Tsoukalas, Luong Hue Trinh, Yan Jun, AGF, Gülce Özen Gürkan, Khabat Abas, Hardi Kurda, Klaus Janek, and many more. In 2024, he was awarded the Kunstpreis Berlin – Jubiläumsstiftung 1848/1948 in Berlin. In 2017 he released together with Dimitri della Faille the book Not Your World Music about noise music in South-East Asia, winner of the 2017 “Golden Nica” Prix Ars Electronica in the Digital Musics & Sound Art category.

In 2005, his soundtrack for the experimental film Atalodz directed by Gisèle Pape won the best prize at Côté Court festival, in Montreuil, France. He composes music for sound installations, theatre and choreographies, including collaborations with Robyn Orlin, Guangdong Modern Dance Company (GMDC), Dao Anh Khanh, Jia-Jen Lin. His tours and ongoing research lead him to perform and give talks in 70 countries in Eurasia, Africa and the Americas.

I’m a biologist and nature sound recordist with a passion for capturing the songs and calls of animals—key traits that define them as species and play a vital role in their communication and survival. For more than 30 years, I’ve been building a collection of wildlife sounds, contributing my recordings to some of the world’s largest sound libraries. I’m equally fascinated by the unique soundscapes of each environment, across seasons and times of day, where the sounds of nature reflect the health of ecosystems.

I work independently, publishing CDs of wildlife sound guides and soundscapes under my own label, Alosa, leading listening workshops to help people discover animals through their voices, giving talks about the sounds of nature with live sound excerpts, and collaborating on radio programs. Overall, I’m deeply committed to raising awareness about sound and encouraging active listening as powerful tools for understanding, protecting, and conserving our natural heritage.

Since earlier this year, I’ve been serving as president of the Wildlife Sound Recording Society, taking over the role from Chris Watson. This European society, with over 50 years of history, promotes nature sound recording, exploring both the biology and communication of living creatures and the craft of fieldwork, along with innovations in recording techniques and equipment.

Laura Llaneli’s (Granada, 1986) work explores the relationship between sound production and experience, language and contemporary visual arts practices. She emphasizes the impact of variations on stable patterns and structures in certain cultural products, testing the resistance of language as a code or sound as a social icon.

She is represented by ADN Galeria and her awards include Art For Change 2019, Premi Miquel Casablancas 2018 and Premi Embarrat 2017. She has had solo exhibitions in national and international spaces such as Fundació Joan Brossa (Barcelona), La Capella (Barcelona), Casal Solleric (Palma de Mallorca), ADN Galeria (Barcelona), Fundació Joan Miró (Barcelona), Casaplan (Valparaíso, Chile), Swinton&Grant (Madrid), and Art3 (Valence, France). Group exhibitions include Lo Pati (Amposta, Tarragona), The Clemente’s (NYC), Palacio Condes de Gabia (Granada), Centro Rafael Botí (Córdoba), Tecla Sala (L’Hospitalet, Barcelona), and Casa de Velázquez (Madrid), among others. Performances in festivals such as Asistir 2022 (Mexico), Signal Reload (Sardinia), Intermediale (Poland), Mixtur (Barcelona), Poesia i+ (Caldes d’Estrac), CAAMSonora (Gran Canaria), LEM (Barcelona), Tsonami IX (Chile), and Eufònic (Terres de l’Ebre, Tarragona).

Llaneli lives and works in Barcelona. She completed musical studies and a diploma in Graphic Design. She holds a degree in Fine Arts from the University of Barcelona and two master’s degrees: one in Sound Art and another in Teacher Training from the same university.

Buenos Aires, Argentina, 1977
Tokyo, Japan, 1976
Live and work in Barcelona, Spain

“Our work takes place in the margins; it pushes them, blurs them, and questions them.”

Lolo & Sosaku explore the possibilities of sculpture as an expanded field.

The thread that unites their work is the search for an object in contact with its surroundings and with the viewer, an object that generates friction and tension, exploring the capacity to produce new meanings.

Their practice moves between sculpture, installation, kinetic art, and painting, frequently incorporating music and sound. Their modus operandi consists of becoming a subject and, from its machinic materiality, reaching transcendence, mysticism, and the unknown.

Electronic music is undoubtedly their main source of inspiration, conceived as a complex language translated into sound installations and sculptural compositions. Forms, lines, materials, and sounds assemble into moving sculptures that act with their own voice in a continuous and unpredictable transformation. Exploring multiple artistic horizons and redefining boundaries, their interest focuses on energy and the hidden forces that drive life in our technological era.

Roc Parés Burguès (Mexico, 1968) is an artist and researcher in interactive communication. Committed to an interdisciplinary culture, which he defends for its emancipatory potential, he has explored the intersections between art, science, technology, thought, and society. His works are characterized by poetic and critical experimentation with digital technologies and have been presented, published, and exhibited internationally. He holds a PhD in Audiovisual Communication (UPF) and a BA in Fine Arts (UB). He is an Honorary Artistic Creator of the National System of Art Creators of FONCA (Mexico).

cantdefine.me is an artistic collective with heritage in Africa and Abya Yala. From their base in Barcelona, they examine the various dimensions of identity in the diaspora, with the intention of reimagining new narratives. Their practice mainly includes audiovisual research, with the goal of creating archives that serve as a safe space for those who refuse to be defined by oppressive concepts. They also aim to delve deeper into the human experience in search of and to create connections between communities.