Listen, experience, share. These elements are the first I’ve learned and immediately I took a step forward! Every module of the course is an armory of new instruments ready to use to improve a precise way of thinking about sound and define a personal sound practice. The great fundamental is the group. Students with different backgrounds share their experience and a well open mind can only benefit from it!CV
Massimo Colombo (°1986, Italy) is a sound designer and electronic music composer currently based in Ghent, Belgium. He works for audiovisuals, multimedia installations and contemporary music performances. His research in sound composition pass through a sculptural and spatial dimension, mostly influenced by acousmatic music. Trained as a film and tv producer, he has a bachelor in Electronic Music and New Technology. Now studying at KASK & Conservatorium, he opted for EPAS to combine his experience in sound with visual art and performances.
In EPAS I feel two internal movements happen simultaneously- one of receiving and enrichment and the second is of releasing and relinquishment. It is where I came to the profound realization that sound is always surrounding us and it is within us; it is our own ear that is a matter of tuning and that the “ear” is also the access to a realm that is higher than language, consciousness and intellect.CV
Rotem Gerstel (°1988, Israel) works with sculpture and video installations. She currently lives and works in Paris, France. If a creative process is a metaphor for a structure, Rotem focuses her attention on the threshold between two metaphorical rooms, two spaces – one being reality, and the latter, art. She questions the information which transfers between the two spaces, causing inevitable questions to arouse concerning the role of the membrane as a protective matter, and as a provider of boundaries with the ability to exclude, and also choose, the information it needs in order to be. The inherent questions of communication between the two spaces lead to the contemplation of translation, synchrony and asynchrony. Since her graduation from the Bezalel academy in Jerusalem in 2016, she had participated in a number of residencies such as the Cité Internationale des Arts, the DOC! in Paris and also in the Werkraum Warteck pp in Basel. Rotem is also the co-founder of the itinerant radio station THE REAL.
EPAS is a place to meet like-minded people. Sound Listeners. Together we’re sharing the same attention to our surroundings: how do we perceive sounds, how does it interfere with our attention, how do we capture it/record it, what do we do with it, in which context do we reproduce it? EPAS is a place for experimentations, a lab. A common ground.CV
Pauline Mikó (°1991, Belgium) is a working photographer. Through the use of various multimedia in her performative and photographic projects she constantly questions our relationship with the environment, the soil, the mineral and the living. In 2010, with Oh My Garden, she organized about thirty concerts in gardens, inviting the neighbors of a district to meet in the private space of an exiguous city garden. In 2013, she began A Project for Later, a long-term art piece on Memory, Territory and Time by burying Time Capsules around the world; waiting 10 years to find these souvenir boxes
containing photographs, texts, SD cards and other objects buried temporality. Her musical project PLUIES is therefore the logical continuation of her sensitive research about our relationship to our surroundings and the environment.
In EPAS I feel able to explore the matter of sound and develop my artistic practice within a stimulating environment. The process is followed with attention and care and the school provides you the tools needed to the process. Since the first workshop I have been perceiving new possibilities related to the sound and to its intrinsic capacity to create physical and imaginary spaces.CV:
Flavia Passigli (°1988, Italy) is a cello player, based in Bruxelles. She worked for many years in different fields of the performing arts. As a musician who worked in theatre for many years, it’s impossible to play cello on stage without linking the sound of her instrument with the space and the movement. The universe of the sound and its capacity to create spaces emerged as well as the universe of the body, the presence and the movement. She collaborate as a composer, musician and performer with the film maker Laurent Van Lancker, the contemporary dance Compagnia Enzo Cosimi, artists Edoardo Mozzanega, Matteo De Blasio and Lotte van Gelder. In EPAS she wants to develop her artistic practice based on sound in relation to movement and space.
I consider EPAS a space to exchange competences, share points of view and to collaborate within an interdisciplinary an international group.CV
Nina Queissner (°1990, Germany) collaborates in all kinds of interdisciplinary projects related to radio and experimental cinema within cultural institutions and public schools and venues for live music.
Her practice articulates around the phenomenological dimension of music and the generation of sound by means of electricity. She shares her work through sound-installations, solo and group performances and composition in art and music related contexts, whilst exploring the collective and spiritual dimensions of musical and sonic processes through first-person experiences in the field. (instrumental practice, DJ-ing, Collecting Sounds and Archiving, Techno and Free parties, Field recording, writing). Nina studied the humanities at Goethe Universität Frankfurt am Main for some years, started Fine Arts in the Experimental School of Arts of the Alpes (Annecy) then graduated from the National School of Art of Bourges in France. She has been living in Germany, France and Belgium, and is currently working in France and Belgium.
More than a course, EPAS is a special place were sound artists can find shelter to discuss, exchange and grow their creative practice.CV
Guillaume (°1977, France) is influenced by his environment and culture, and the history of places and objects. He expresses his emotions and perceptions of the contemporary world through his work as a simple witness of our society. He have contributed to a wide range of projects from
exhibitions to art installations. Some of his solo work includes “Drifted” (2017), an interactive sound sculpture that evolves the natural frequency of materials using granular synthesisers, and “Tubulus Aeolus” (2018), a sonic sculpture made from found materials resonating with the desert wind.
He was in a Residence artistic at Doha Fire Station 2018/2019 (Qatar) in which he produced a series of sound installations inspired by Dhows, and developed a series called Sound Fossil Sculptures. Both projects were exhibited at Doha Fire Station, Garage Gallery.
EPAS is a deeply nuanced exploration of sound as an art form and listening as practice. The diverse background of the students and practitioners create a rich and nourishing site to develop professionally and creatively. I consider it a strikingly intimate and exceptional experience.CV
Melissa Ryke (°1987, Australia) is currently undertaking a state supported studio residency at the Carré des Artistes in Lille, France. After graduating with First Class Honours in Fine Arts (Visual Arts) at Queensland University of Technology in 2011, she undertook a Masters in Fine Art at the Ecole Supérieure d’Art Nord Pas de Calais, graduating in June 2015 with High Regards from the jury. Since then she has been developing an experimental and transdisciplinary international art practice. Melissa works across the mediums of video, sound, text, performance and drawing to create multi-media installations. Arising from a critical and playful investigation of the quotidian, she explores how experiences are remade through media with an emphasis on body and space. Melissa’s work has been screened and exhibited internationally, including at Screen Space, Palais des Beaux Arts Lille, Seventh Gallery, !MetroArts, Boxcopy, Art Up! and published in Runway Australian Experimental Art.
Before I experienced the first module of the EPAS, I didn’t known that it could be such a strong attitude to listen to sounds carefully. Listening to environmental sounds is a sonic journey that the world constantly gives us. For me, EPAS is a one-of-a-kind way of knowing how to listen to myself, others, and the environment. EPAS critically expanded our sense of hearing, and poetically reminded us of the possibilities of sound that we knew unconsciously.CV
Kenta (°1993, Japan) is an urban composer, transdisciplinary sound artist, and guitarist. His work attempts to explore the possibilities of applying urban
theories in the field of sound arts. Previously, he studied sound arts, urban theories, and design research at the Graduate School of Media and Governance, Keio University, Tokyo, Japan. Currently living in Ghent, Belgium, he is doing his postgraduate in Sound Arts at EPAS where
he is focusing on the relationship between urban space and sonic experience.
EPAS is a powerful and refreshing experience for any artist who’s trying to know sound intimately. It’s a symbiotic environment where concepts get morphed and redefined through the group’s dynamic and multitude of artistic practices.CV:
Luís Neto (°1993, Portugal) is a musician/music producer who has worked as a studio assistant, mixing/mastering engineer and sound technician. Started as a drummer and eventually turned into music composition inside a myriad of different genres, with a special interest in instrumental and fusion music. His latest endeavor is called TURVA, a project he’s developing alongside fellow artist Alexandre Alagôa which will focus on the editorial publishing of artistic works from music to literature.
The freedom to explore together the vast world of sound, creating a collective language to talk about these experiences, that for me was the first week of EPAS. Already, I feel very enriched in my way of thinking about sound, and this opens up a whole array of new questions and possibilities. EPAS is taking the time and space to distill one’s own approach and vocabulary in sound, it is the pause in which the listening can start, again and again.CV:
Evelien Verhegge (°1986; Belgium) is one half of an artist duo called studiomoscou. With this duo, based in Moscou,Ghent, she makes performances and installations, often with participation of different groups of people. Starting out as an actress, she drifted to experiment with different ways of bringing text on stage, using poetry, field recordings and soundscape. In 2017 she finished an artistic research project on the layering of image, sound and meaning in poetry performance. Using sound, the rhythm of speech, voice, and the combination with field recordings she adds the layers of sound and text to the studiomoscou installations and performances.
The first module of EPAS, ‘on listening’, has provided me with an inspiring environment and has truly opened my ears. The intense setup of the program allows for meaningful discussions with peers, fascinating insights
and the discovery of new approaches to sound. I couldn’t ask for more.CV:
Job Worms (°1992, the Netherlands) is an audiovisual artist working with both audio and video synthesis. Job generates new worlds using analog synthesizers, exploring being and nothingness. Job has collaborated with other artists as sound designer and has most recently contributed to Calling From The Periphery (2019) by Yeb Wiersma, exhibited in the Kröller-