Simina Oprescu (n. 1993) este sound-artist, artistă video și mixed media care trăiește în București cu o atenție deplină asupra sunetului și compoziției în ultimii 4 ani. A absolvit Facultatea de Fotografie și Imagine Dinamică la Universitatea Națională de Artă din București și 1 an în departamentul de compoziție acusmatică a Conservatorului Royal din Mons, Belgia. Artista se concentrează pe mai multe planuri, pornind pe analiza modului în care imaginea fixă și imaginea în mișcare se potențează reciproc, fiind interesată de modul în care profunzimea fundalului poate fi folosit ca un instrument pentru remodelarea percepției noastre asupra mediului și mișcării până la utilizarea sunetului ca mod de exprimare, atât cu sau fără imagine, ca mediu constituțional. Folosind diferite instrumente, 'obiecte sonore' și programe digitale, artista folosește sunetul ca experiment și ca o înțelegere profundă a eului și a împrejurimilor. De asemenea, interesată de posibilitățile de integrare a sunetului (și ritm) în mediile vizuale (intern sau extern) și de capacitatea sunetului de a schimba radical înțelegerea imaginii: "La început a fost sunetul, comparat cu imaginea..."
Simina Oprescu (b. 1993) is a sound, video and mixed-media artist living in Bucharest with a full attention on sound and composition for the past 4 years. In 2015 she graduated from the Department of Photography and Dynamic Imagery at the National Art University in Bucharest and in the period 2017-2018 she did one year in the acousmatic composition department of the Royal Conservatory in Mons, Belgium.
The artist focuses on several concepts, starting with the analysis of how the fixed image and the moving image are mutually reinforcing*, being interested in how the depth of the background can be used as a tool for remodelling our perception of the environment and the movement; to the use of sound as a way of expression, with or without an image as a constitutional environment.(*Like sound and silence). Using different instruments, ‘sound objects’ and digital programs, into her compositions, the artist uses sound as an experiment and as a deep understanding of the self and the surroundings. Also interested in the possibilities of integrating sound (and rhythm**) into visual environments (internally*** or externally), and the ability of the sound to radically change the understanding of the image: “In the Beginning was the Sound compared after Image….”
***thoughts, fears, moods, synesthesia.
**and a little citation from Priest Eldritch about rhythm:
There is rhythm in writing, rhythm in reading, rhythm in thinking. Rhythm relates all of our acts of speaking, listening, and knowing to a metaphysical dimension that is "sense," which it turns out is an expression of no particular sense--nonsense. For instance, imagine the sound of my voice and hear the intervals of my speech as a series of feints and lunges that articulate words with things, ideas with concepts, and sensations with emotions. What is heard is the movement of sense and the infection of words with the fantasy of meaning and import. "Rhythm" can be understood here as a vector of sense in the way that a mosquito is a vector for the transmission of malaria whose proliferation throughout a population expresses the sense of malaria as an "epidemic." As such, rhythm, which itself has no particular sense but instead transmits a pattern of relation that promotes more and less remote associations between words and things, generates patterns of significance that can be likened to an epidemiology of sense. The poetics of this "rhythming" is thus a poetics of non/sense.' - Obscurity and the Poetics of Non/sense in the Writings of Raymond Roussel and Fernando Pessoa - Priest Eldritch
platform for sound art, radio art and field recording
‘DRIP DROP’ (2018)http://semisilent.ro/drip-drop/
‘ONE BAG OF ROTTEN TOMATOES ONE BAG OF ROTTEN POTATOES’ (2017)
‘IL COLOMBRE’ (2018)
‘THE HIDDEN ENVIRONMENT, THE FEELING OF THE CAVE’ (2020)
︎RADAR NEW MEDIA ART Festival - ACT LIFT OFF︎
︎that can be explored next year, at RADAR 2021.
4 weeks, 5 creative teams and over 1200 hours at Romaero. The purpose – to restore a Boeing 737 fuselage (12m long) to its initial shape and turn it into an immersive light (400 sqm of LED) and sound installation. A project developed by 5 creative teams: Mișu Cojocaru, Adrian Adilau Sandulescu, Aural Eye, Ygreq Interactive, Simina Oprescu, Silviu Stroe și Diț
Sound design: Simina Oprescu
︎SECONDARY SONIC SPACE
︎ more about published in TURBULENCES VIDEO #101 - FR
︎ DUDUKItrack on the compilation On The Right Track Sociopath by Orgone Dealers
Compilation of electro-psychotix from Romania, Serbia, Russia and Belgium.
All tracks mastered by Alexandru Drăgănescu aka JB
Artwork: collage by Ion Bârlădeanu, 1992, courtesy of H'Art Gallery
Design by Marina Oprea
© Orgone Dealers, 2020
The alleged spiritual energy within all human beings. According to a certain group of Japanese artists, channelling your Ki will allow you to perform normally impossible tasks, such as shooting a Kamehameha wave from your hands.
Basically, Ki is what souls are made of.
'It is 2056. The air is crammed with a strung-out anticipation and not a moment goes by that does not foreshadow the demise of an eleven-billion-strong species. Environmental warfare spreads by plants; insect-machine hybrids carrying diseases designed to infect specific racial and ethnic groups via targeted DNA sequencing; volatile weather systems; all meld in this ecology of collapse.' - Toby Heys
Change has its manifestation through every form, and the invisible form will have a strong word to say in our subconscious and emotion processing throughout this apocalyptic burn out times. An invisible revolution of the soul. ‘
worked between late2019 - early2020, Bucharest, Romania
released June 30, 2020
Digital artwork: Smaranda Voican
©all rights reserved Simina Oprescu
︎ MACHINESTICtrack released on Hallucinating Heights released on cassette by Ondes HXCX.
‘The second release on Ondes HXCX brings together a selection of emerging, as well as more established artists from Romania.
The tape presents a collage of all the tracks brought together via an array of sound-pieces which act as binding interludes.’
︎ THE WIRE - Below the Radar
released - CD compilation SHAPE Artists 2020
Awards & Nominations
︎NIMBOSTRATUS awarded the 3rd place in the compositional contest
on the occasion of the 250th anniversary of the birth of Ludwig van Beethoven.
Organisers – Goethe-Institut, forumul cultural austriac, SĂPTĂMÂNA SUNETULUI, National University of Music, Bucharest.
︎The soundtrack of Drăguș - Life in a Romanian Village, together with Image and Sound is nominated for the Découvertes Pierre Schaeffer award at
‘Phonurgia nova awards selection committee is pleased to unveil the list of nominated authors for the 2020 festival which will take place at BnF on October 2/3 and 4 Out of 305 productions received from 30 countries, 40 creations have been selected from the most amazing of the moment. They are already audible online by the jury who can now read them - and prepare the arguments they will exchange in front of you, during this much-awaited listening feast.’
Platform for Innovative Music and Audiovisual Art from
︎ SEMI SILENT Awards - Audience Award for the work 'DRIP DROP composed and recorded during the Sonic Future Residency in 2018.
Grand Prix Nova - Short Forms
with the work 'DRIP DROP' -
︎ http://www.grandprixnova.ro/info/info-index.htm?c=4741&g=7 ︎ https://www.facebook.com/gpnromania/videos/690897831339371/
Inner Sound New Arts Festival
- Jury's Award
Part of the laureats at the Innersound New Arts Festival - 100years of Romanian Sounds with the recomposed work Tragic Numberture inspired by the original composition of romanian composer Marcel Mihalovici - Tragic Ouverture.
2020• Comissioned quatrophonic works by
due to Covid-19.
SIMULTAN XV Festival- https://fb.watch/20WBQkl3z4/
- Review on Positionen Berlin - https://www.positionen.berlin/post/position-simultan-festival?fbclid=IwAR3rU2iN11EolRnzqzBAYW4kw1XEAM52ccS5hAk2UY1gBNN-I2FxiZRka1I
• 45 min live concert “Deep Surroundings with a Splash! of Water” inside Kristin Wenzel’s life-size installation ‘The Near and the Elsewhere’ at Suprainfinit Gallery - https://www.facebook.com/events/ 147491233106394/
• 40 min live concert at
POCHEN Multimedia Biennale Symposiumin Chemnitz, Germany - https://soundcloud.com/siminaoprescu/deepsurroundings
• 40min live session w/modular synth at Kino Šiška in Ljubljana at
SONICA Festivalin collaboration with
MOTA museum- https://www.facebook.com/pg/kinosiska.si/photos/?tab=album&album_id=10157413888869876&ref=page_internal
• 50min live concert at Slănic Moldova in the Salt Mine, during the festival IN CONTEXT - https://www.facebook.com/events/1126255644232140/
• 1h30m live set w/ modular synth - RezidențaBRD Scena9 POST MUZICA invites the audience of the BRD Scena9 Residence to a program curated by Mitoș Micleușanu and produced by the Foundation9 dedicated to sound and active artists in the experimental area of contemporary music.Each POST MUSIC edition will include a presentation of the guest artist, a discussion moderated by the curator of the program, Mitoș Micleuşanu, and a performance - live audition."Post-music is what remains when we forget everything we know about music, what remains when we no longer try to" delight the eardrums "(or mourn them) harmonically or rhythmically what remains when the sound becomes an intuitive paste. modeled, when we discover in real time how it "escapes" us from the aesthetic, conceptual control, etc. one of the fundamental questions related to post-music: is it possible to make the sound under the "dictatorship" of music? all the more so as including the noises in their diversity, the sound of the city or the forest, they can be considered [a kind of] music. their spectral structure, the possibilities of transforming an already recorded sound, allow it to be approached or removed from what we understand by music in this case, is it white noise music? if its "granular dissection" allows re-shaping, reassembly of its sonic particles, into a song? the first conclusion would be that: any noise contains "latent music" at the granular level, as in the subatomic physics there is the hypothesis of the elementary particle (quanta) that contains the imprint of the object of which it is part, a kind of memory of the whole subatomic scale. "https://soundcloud.com/post-muzica/editatwav
• 3h30m Hybrid extended set at
Rokolectiv Festivalat Front Control Club
• 60 min, live performance at the Jobless AI series concerts at Club16
• KRAN NYE 2019 live performance 90 min.
2018• 50 min. perfomance at Contemporary Art National Museum (MNAC) during a session with personal compositions organized by Brizura - A musical series hosting debuts, experiments and the merging of arts in unitarily-diverse spectacular nights.
• Tripoteca festival, 40 min. live AV performance with the visuals of Mihai Matei.
• Intersections with the live online project Experiment+ https://www.youtube.com/watch?v=hEMKjVPDBzw
• 20 min performance at Sâmbăta Sonoră (Sonorous Saturday) during Săptămâna Sunetului - La Semaine du Son at Apollo111 Theatre
• 45 min performance at the radio Stazione di Topolò organized by Moreno Miorelli in the 24h festival ToBeContinued played from Bruxelles. http://www.stazioneditopolo.it/24h-2018/index.html
• In Mons (Be) , personal compositions presentation during a session organized by the class of acousmatic department.
ORF musikprotokoll Kunstradio
Red Light Radio
Charo Calvo (ES, BE) - composer, sound artist - Technics of Sonorous Writing (2017) inside the project Her Voice by SEMI SILENT
Philippe Franck (BE) - art historian, designer and cultural critic, producer, sound creator and intermediary, director of Transcultures - Centre of Interdisciplinary Arts of Sonorous & Numeric Culture, Secondary Sonic Space Installation (2018)
Raymond Delepierre (BE) - sound artist and sound engineer, Secondary Sonic Space Installation (2018)
Felix Blume (FR, ES ) - sound artist, field recordist and sound engineer, Sonic Future Residency (2018)
Erwin Stache (DE) - composer, sound artist, mathematician - Sonorous Interventions In The Urban Space (2019) inside Săptămâna Sunetului/ Week of Sound.
Lectures, Interviews & Panel Talks
• Lecture on Sound, Listening and Acousmatic composition inside the Bandwidth Residency supported by Ștefan Câlția Foundation and Posibilă Gallery at Șona.
- nice review by Daria Nedelcu on Bandwidth Residency and the 3rd edition of
Sounds like a book. - https://revistaarta.ro/en/bandwidth-2/?fbclid=IwAR1x3rI02adwSdjXFJjdLc7CWkSfcELN3jyfAWOoWfXpinbcqFCbvpvr0Co
• Panel Talk on Sound & Capital inside SONICA Festival coordinated by Andrej Tomažin - https://vimeo.com/368630941
• In conversation with Dražen Dragojević - https://vimeo.com/365707125
Is musicality specific to humans only? Can animals consciously perceive pitches and beats? Do birds get high when they sing? Watch an interesting and entertaining talk between artist Simina Oprescu and music cognition scientist
Prof. dr. Henkjan Honing.He recently published the very interesting book
“The evolving animal orchestra”
Part of "Probabilities Around the Center".With support from SHAPE platform, co-funded by the Creative Europe programme of the European Union. Co-financed by A.F.C.N. - Administratia Fondului Cultural National.
• Interview Revista Arta - http://revistaarta.ro/en/sound-has-color-anyway/
• 10 day training residency on Acousmatic composition inside Rezidența21 at LETEA IN UNESCO by association MATKA, together with Diana Miron, Sillyconductor (Cătălin Matei) and special guest Laurențiu Coțac - https://www.facebook.com/rezidenta21/
• Interview SHAPE - https://shapeplatform.eu/2020/the-sound-is-the-soul-an-interview-with-simina-oprescu/
for Video & Film
Sound producing & composition for the video work “Vestigial Structures” of the artist Nona Inescu exhibited in the gallery Frac des Pays de la Loire (Fr). - https://www.youtube.com/watch?v=teYs-L0ssKs -
Audiovisual Wallhttps://ccrma.stanford.edu/wave/?fbclid=IwAR2uJDNxP-hr85lcwo4d-XNFYYqf4C61ByxhJ7b9HLAKl7J3mbF2SEl99xM - 2020
Possible Sounds of Early Cinema"Drăguș - Life in a Romanian Village" (1929, one of the first sociological and ethnographical documentary films in the world), in the frame of Possible Sounds of Early Cinema project, conceived by
Image and Sound(Bucharest)
live concertat Rezidența BRD Scena9 for the screening of "Drăguș”
• In the period of 2012 - 2016 I developed a series of photo & video projects but in this moment are not quite representative, I can enounce “Urban dead nature” (2012-2014), “Sky is the limit (2015), “Catharsis” (2016) , “Interior” (2016), Traces (Replacing) (2017), “Straight Forward” (2017), etc. While using the moving image I came across with Sound and soon I discovered that the most important step into making a good Video work is having a good Sound work, therefore I shifted completely, realising that Sound and creating a synesthetic environment are more important than my previous researches and practices.
︎note: The sound was worked and composed with analog modular synthesis and MIDI arrangement. The text was adapted from Earth Sound Earth Signals- Energies and Earth Magnitude in the Arts by Douglas Kahn. The original dialogue was between Millet Morgan and Emory Cook. In my fascination with Alvin Lucier and Tesla, I did an abstract adaptation where a Sergeant is put to an impossible task - to eliminate a thunderbolt that came from another planet and caused serious damage to the ship. There we found a dialogue of explaining the phenomenon of whistlers compared by Cook, with the dispersion of the full-spectrum of electromagnetic burst of lightning into the magnetosphere, jumping over the equator from one hemisphere to the other, to form a glissando, to a deck of cards. They arrived on the Planet but it was utterly electro-magnetic and full of lightnings that they couldn't leave anymore, being stuck to the ground by the magnetism of the Planet in a continuous and hilarious search in catching the thunderbolt.
Work selected to be presented during the 16th edition of MERIDIAN International New Music Festival, “Planetarium” - 2020 (postponed 2021)
LUDUSVideo & sound work (2020)
Commissioned work by MOTA Museum in Ljubljana, exhibited at Equrna Galerija inside SONICA festival ‘Paradise Haunted Garden’.and exhibited at Mestna Galerija in Nova Gorica inside PixxelPoint Festival.
‘LUDUS’ is an experiment that aims to use the game as a mean ofresearch for the ways in which form can change the sound andinitiate the rhythm.Inside the game, the rules play an important role in setting/creatingthe rhythm, thus modulating the form, the invisible shape of sound.The secrecy of the play gives that aleatoric, unpredictable movementof sound in space. In contradiction with its rules which demand andorganise, somehow the beauty of the play lies exactly in itscontradictions. If the game would be predictable 100%, there won’tbe any stake of winning, the rules trace the territory/ form and thesecret confers content/ substance. In play/game it’s a duality, therelation between visible and invisible.“The exceptional and special position of play is most tellinglyillustrated by the fact that it loves to surround itself with an air ofsecrecy. Even in early childhood the charm of play is enhanced bymaking a "secret" out of it. This is for us, not for the "others". Whatthe "others" do "outside" is no concern of ours at the moment. Insidethe circle of the game the laws and customs of ordinary life no longercount. We are different and do things differently.[…] Archaic man was well aware that music was a sacred forcecapable of rousing the emotions, and a game. Only much later was itappreciated as a significant addition to life and an expression of life,in short, an art in our sense of the word” - Johan Huizinga - Homo Ludens
Audio Video work (2020)
The concept behind this film is about the apparently endless lines that clearly imply a sort of a ‘dialogue’ let’s say, between members of the family. Imagined this Queen that has sent them on a mission which appears to happen every season between June and September which is called the ‘Nuptial fly’, a relationship between multiple mating by queens that creates a colony genetic variability. They are called Lascius Niger or the Black Garden Ant. That dialogue and bustle drew my attention and I wanted to capture it in sound as well. The first frames though are a metaphoric forecast of what is coming. It’s a footage from the Mud Volcanos, Buzău county in Romania, a protected area with sulphurous soil and salt flats.The phenomenon is caused due to gases that erupt from 3,000 metres (9,800 ft) deep towards the surface, through the underground layers of clay and water they push up underground salty water and mud, so that they overflow through the mouths of the volcanoes, while the gas emerges as bubbles. Then, while working on it, I thought it can be also like a SF scenario where a new genetically huge mutant species of Formicidae is born from the Mud Volcanos, with a single mission, to save our Planet (and ‘Nuptial Fly’ is actually called when they embark to capture us all at night.) You’ll never know.
Originally composed for "Earthly Soundtracks For The Non-Human”, a project developed by
Rokolectiv Festivalwith support from
KAJET JOURNAL - SONIC FUTURES IN THE ANTHROPOCENE
Thanks to the awesome team and Petrică Mogoș for the great job managing Kajet Journal,
here is a critical view on Eastern European post-communist realities + some interviews of me and Lucia Udvardyova taken by Lucie Korbelová in a really good article on sound in the Antrophocene:
go and grab one an read it on your post-communist armchair.