Electronic works 


https://soundcloud.com/siminaoprescu ︎
https://siminaoprescu.bandcamp.com ︎

Radiophonic/art works



platform for sound art, radio art and field recording

‘DRIP DROP’ (2018)




‘IL COLOMBRE’ (2018)

https://soundcloud.com/siminaoprescu/monstrul-colombre ︎




Installation works





︎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 OprescuSilviu Stroe, Diț

Sound design: Simina Oprescu





︎ more about published in TURBULENCES VIDEO #101 - FR





The outcome of Nona Inescu and Simina Oprescu collaboration. A very limited artist edition of twenty 10” records (signed and numbered) of the soundtrack composed by yours truly, for her most recent video work “Hydrophites”, featuring the talented vocalist Geo Aghinea.
The sound on each record is unique, a charachteristic of the vinyl lathe cutting process done by Balàsz Kovács. The record was made in the context of Nona Inescu’s exhibition “Waterlily Jaguar” at SpazioA, Italy. 




track 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



‘A new world eats an old one
and forms a schizoid dichotomy.

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


︎ THE WIRE - Below the Radar

KI 03

released - CD compilation SHAPE Artists 2020


︎ the ATTIC 

KI 02



track 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.’


Awards & Nominations 




NIMBOSTRATUS awarded the 3rd place in the compositional contest

'Quoting Beethoven'

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

‘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' -

Silver Award

︎ 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.

LIVE concerts



• Comissioned quatrophonic works by

CYNETART Festival 


SONICA Festival 

due to Covid-19. 


 - https://fb.watch/20WBQkl3z4/

Review on 



• 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 Symposium

in Chemnitz, Germany - https://soundcloud.com/siminaoprescu/deepsurroundings

• 40min live session w/modular synth at Kino Šiška in Ljubljana at

SONICA Festival

in collaboration with

MOTA museum


• 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 Festival

at Front Control Club
• 60 min, live performance at the Jobless AI series concerts at Club16
• KRAN NYE 2019 live performance 90 min.


• 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. 

for Radio 




ORF musikprotokoll Kunstradio


Cashmere Radio 


Red Light Radio 


Noods Radio 



Cona Zavod/Institute 

Workshops &


︎RIVERSSSOUNDS organised by DZESTRA (Ukraine) in parternship with SEMI SILENT (Romania) (2021) - https://riversssounds.org/mures

︎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, Asociația Jumătatea Plină (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 


︎ https://fb.watch/20W-9BOa5F/ 

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”


MIT Press.

 A more detailed lecture about his research here: https://bit.ly/2SZihj2

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 - 

Exhibited at

CCRMA Stanford


Audiovisual Wall

https://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



live concert

at 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.


Bucharest Hours (Witold Klimowicz, 1942)

silent film, unedited footage, runtime: 61 minutes
music: Simina Oprescu


Only specialized dictionaries still recall the name of Polish documentary filmmaker Witold Klimowicz, who came to Romania seeking shelter from the early horrors of the Second World War. Once employed at the National Office of Cinematography, Klimowicz would collaborate with Paul Călinescu (“How is a Film Piece Made?”, 1940) and oversee the first steps of young filmmaker Victor Iliu.
Commenced in September ’42 and resumed later for technical reasons, “Bucharest Hours” was intended to embody the urban symphony of a supple and chic Bucharest so as to draw attention away from the war. As it stands today, the film is, above all, the shooting journal of a most eager filmmaker. As Klimowicz never managed to carry out his project, the footage stored at the National Film Archive includes shaky frames, retakes, landscapes captured in multiple takes, “duplicates”, as it were, and others. It is by fortune alone that those of us today can witness the film in its unpolished form, partly because it grants us more of its charming images before which we can never deem ourselves satiated. Let him who does not behold longingly the promise of early buildings, the folk loitering around pools, the adornments of the masses on boulevards, the carefree day-to-day spent in cafés, step forward. Every so often, we must all partake in such opium. As this Bucharest never existed in effect, but was edited to appear thus. This is, in part, why we’re fortunate that its retakes and duplicates are on display. Not only are the vistas of the University and the Roman Square anthological, but also, or above all, the boy who stumbles into frame and forces the operator to shield the lens with the palm of his hand. (Călin Boto)