Noisy Words

Evi Nakou is a musician, sound artist. Her practice is a hotchpotch of listening and sharing gestures of sound, text, and performance. Her work explores proximity and intimacy within situated stories in an improvised and semi-structured manner – stories often untold, unheard or erased. Evi is a co-founder of the music ensemble Breakfast Club quartet.

She has collaborated with organizations such as the Barbican Centre, Guildhall School of Music and Drama, Women for Refugee Women, Melissa Network, Goethe-Insitut Athen, New York Philharmonic, CTM Festival, Greek National Opera, Athens Epidaurus Festival, Deutsche Oper Berlin, and Onassis Stegi, on the basis of conceiving and facilitating context-led pedagogies and performing arts practices.

She has curated and facilitated workshops on music and sound improvisation and collaborative composition with people from diverse backgrounds and life paths, locally and internationally, namely Beit AlMusica in Palestine, La Sonora in Argentina, and Drum Works in the United Kingdom, as well as the Korydallos Prison Complex, the Organization Against Drugs (OKANA), various schools, and hospice, health care, and detention facilities in Attica, Greece.

Evi is a graduate of the Department of Music Studies of the Aristotle University of Thessaloniki and the Guildhall School of Music and Drama (MMus Leadership). She is a PhD candidate at the University of Thessaly and an Onassis AiR fellow.

As a 2nd generation Taiwanese American (born 1976) living in Berlin, Audrey Chen`s work continuously explores the displacement of story and history due to the migration and integration processes, loss and adoption of language, untold stories, and how the past can be accessed through inherited and lived experience.
Chen has performed across Europe, Russia, Ukraine, Turkey, Australia, New Zealand, China, Japan, Taiwan, Brazil, Argentina, Ecuador, Canada and the USA.
Since 2011, she relocated to Berlin, Germany from Baltimore, MD USA and continues to maintain an active international touring schedule.

Hannah Silva is a writer and performer confronting big ideas through formal innovation and a seriously playful approach to language, voice and technology. Known for vocal gymnastics, poetic looping, and queering AI, their work spans nonfiction, sound poetry, eight BBC radio dramas, and two decades of critically acclaimed experiments in performance. Silva’s unconventional memoir, My Child, the Algorithm (2023) weaves their experiences of love and queer single parenting into conversations with a toddler and an early, glitchy open source grassroots language model. Their record Talk in a bit, fuses sound poetry, language, percussion and electronica and was the Wire’s top 25 record of 2018. Crow, Pirate, Fly, Silva’s long awaited second poetry collection is available from Bad Betty Press now.

In their project »The Answer Is No« Maja Osojnik and Ursula Winterauer use the same sound sources - voice, electric bass, electronics and sampler. This deliberate decision establishes a live situation that creates an exciting mirroring on a visual and sonic level. Their aim is to unfold, stretch and dismantle the sonic possibilities of their instruments, entering into an intense dialogue in the process. In this exchange, they navigate fluidly between electronic and acoustic textures, allowing sounds to collide, intertwine, and dissolve into one another. A central aspect of the duo’s work lies in exploring the voice as a medium of musical communication and its diverse applications. From hoquet-like dialogues to fragmented, disjointed words and sounds and on to interwoven vocalisations, Osojnik and Winterauer navigate the tension between intimate whispers and intense, confrontational gestures. These repeatedly culminate in distorted spoken-word singing or trapped vocal loops. The voices move between abstract and concrete narratives, opening up space for diverse associations and interpretations.

Maja Osojnik works as a singer, composer, improvising electroacoustic musician, sound artist and producer, mostly using voice, paetzold bass recorders, field recordings, DJ-CDs, tapes and other lo-fi electronic devices, toys, trash and found objects. Moving in limbo between analogue and digital art, virtual and real spaces, she tries to expand, deconstruct and reinterpret the tonal spectra of mentioned instruments and to assign them new roles – a process reminiscent of building anagrams. With a background in early, contemporary and heavier music, Osojnik has developed a distinctive artistic language spanning song, noise, experimental composition and sound art.

Ursula Winterauer, who performs under the moniker Gischt, is a composer, electronic music producer, and curator based in Vienna. Her practice explores raw sonic structures shaped by digital processes, contrasted with analog warmth and the vulnerability of the human voice. This results in layered compositions that draw on industrial sound aesthetics, combining field recordings, bass guitar, synthesizers, and dense electronic textures into immersive environments. Often developed through close collaboration with musicians and performers, her works function as structural sound scores rather than fixed notation.