Mud and Sticky Band by Natalia Sorzano
Exploded matter clumps together to form Mud and Sticky Band, an uncanny, decomposing musical band. Tree trunks, stones, ceramic shards, and relics of pop culture fuse into the vibrating and rotting band players. Limbs are grafted from trash and nature, long nails and hair extensions are merged with soil and wood. A chorus of voices, groans, and vibrations rises. Textures speak. Words melt into wails. Visitors are invited to join this acoustic orgy: they can touch, play, and make noise with the sonic objects scattered around. Symbolic artefacts hum and throb. Confused, the visitor stands amidst the material regurgitation, left to communicate in a language between sound and skin. The installation conjures a macabre, fantastical version of reality, twisted yet alive. The audience becomes part of the compost, left to question the relation between matters. Between plastic, wooden and human fleshes.
Created by Natalia (Nika) Sorzano, a Colombian artist based between Bogotá and the Netherlands, the work is part of the Not to Be Senseless programme. The series explores neurodivergent perception—synaesthesia, savantism, autism—through sensory and immersive artworks. An invitation to challenge the perceptive world around.
Spomyn by Katarina Gryvul and Alex Guevara
At Rewire 2025, Ukrainian composer and violinist Katarina Gryvul pairs with digital artist Alex Guevara for the world premiere of Spomyn, a multidisciplinary performance based on Gryvul’s forthcoming album. Merging classical training with modular synthesis and corrupted choral textures, Gryvul crafts alien soundscapes. Guevara’s immersive light and data-driven visuals amplify the sonic tension, forming a sensory terrain of distortion and beauty.
Piercing voices and broken tones emerge from a swaying figure at the centre of the stage. Light and fog veil the space creating an otherworldly atmosphere. High-pitched, glass-like frequencies cut through waves of static and heavy bass, saturating the audience in sonic disarray. The artist, unmistakably human, assumes ethereal connotations.
Then, everything clashes. A flood of overlapping voices and beams of light flood the space, as if each ray held its voice. As the performance builds, the dimension fractures. Fog thickens. Purple lights ripple like voids. Only the spectral sonata of the violin restores the ethereal dimension. The artist lies on her back, in communion with the lights and sounds. Spomyn propels the listener to embark on an unearthly sonic journey, exploring the shadows of the unknown. Eleonora Mura 7th April 2025
