Night 2 - 
8pm
Bloc_1

Ana María Romano G. (co)

Ana María Romano G. is a Colombian composer, interdisciplinary sound artist, teacher, and researcher. Her creations are situated at the intersection of sound and technology, questioning listening, space, the body, gender and sexuality, improvisation, experimentation, soundscape, noise, interspecies relations, eroticism, and affects.

Her research aims to expand each work so that it can explore new avenues (installation, online repertoire, concert, archive, fixed media/mixed pieces, performing arts, radio). She places great importance on collaborative-collective spaces as well as interdisciplinary and intergenerational dialogues. She considers political dimensions and creation to be inseparable.

She conducted extensive research on Jacqueline Nova, a key composer of Colombian electroacoustic music. She is currently conducting research on the leading figures of electronic music in Latin America.

Professor at El Bosque University, she coordinates the feminist platform En Tiempo Real. She is the co-founder of Paisajistas Sonoras. She participated in the management of the digital space GexLat–Gender–Experimentation–Latin America and the Network of Latin American Women Composers redcLa.

She regularly conducts artistic and academic activities in Colombia and internationally.

Program

De que las hay las hay (2022–2025)

In my recent creations, the need to deploy and evolve them has become more pronounced. Thus, the work De que las hay las hay was first presented as a sound installation (2022), then expanded into concerts, online as a repertoire, performances, and archives. What we hear here is the expansion of the work into an electroacoustic piece on a fixed support (2025).

The work invites us to listen in the broadest possible dimensions, weaving the worlds of human voices with those of plants and everything that emerges from these encounters. It is primarily inspired by the need to reclaim the figure of the witch through listening, encounters, and orality. The witch this work highlights is one who acquires her knowledge through practice, in a collective setting, in exchange with other witches; one who finds in orality an active means of transmitting this knowledge and a precious resource for preserving it over time. They are witches who listen to the secrets of plants...

For me, it is fascinating to intertwine creation with the presences/voices of other women. For this work, I would like to express my deep gratitude to the witches who shared their knowledge, their silences, their intonations, their secrets, their sonorous and affectionate presences: Adina Izarra, Ana Mora, AngieFigueredo, Aniara Rodado, Candida Ferreira, Carmen Caro, Diana Restrepo, Diana Vergel, Elena Villamil, Emi Bahamonde, Isabel Nogueira, Laura Valbuena, Laura Wiesner, Laura Zapata, Liliana Alpala, Liliana Vargas, Lina Cabrera, Marcela Gómez, Marcela Perrone, Marcela Romano, Marcia Cabrera, Maria Teresinha da Silva, Marta Cabrera, Natalia Quiceno, Sara Fernández, Susana Restrepo, Vanessa Villegas, Ximena Alarcón, Zoila Arias and Zoitsa Noriega.

I also deeply thank the plants that transmit their secrets and healing powers to us: Wormwood, Indian acacia, Yarrow, Garlic, Aloe vera, Alstroemeria, Anise, Artichoke, Basil, Boldo, Cacao, Calendula, Cinnamon, Canelon, Maidenhair, Chamomile, Lemon/green lemon, Lemongrass, Cloves, Coca, Copal, Fig, Orange blossom, Ginger, Hibiscus, Jasmine, Lavender, Flax, Limonaria, Mango, Daisy, Mint, Pennyroyal, Spearmint, St. John's wort, Walnut, Coconut, Red onion, Orange, Oregano, Paico, Passion flower, Pate gallina, Parsley, Rose petals, Chili, Pine, Pear, Pepper, Apple, Potato, Horsetail, Grape, Rosemary, Rue, Sage, Elderberry, Tea, Thyme, Tote, Lemon Verbena.

We thank our partner No Hay Banda for making the artist’s presence in Montréal possible.

Joseph Sannicandro (us)

Joseph Sannicandro is a writer and artist based in Montreal, focusing on creative laborand (un)popular culture, with a particular attention to sound. He is co-founder of themusic blog A Closer Listen, producer of the Sound Propositions podcast, and currently lectures in Media Studies at SUNY Purchase. Joseph’s musical compositions and sound art projects have been published by international labels, broadcast on community and internet radio stations, presented in festivals such as Montreal’s Suoni per il Popolo, and at galleries and museums including IKLEKTIK (London), Diagonale (Montreal), the Museodel Sannio (Benevento, Italy) and the Istanbul Cinema Museum.

Program
al-rambla / Las Ramblas 20'
Comprised primarily of recordings of rivers, fountains, aqueducts, irrigation canals, and waterwheels in Granada (Andalucía) and Blanca (Murcia), al-rambla / Las Ramblas blurs boundaries between traditional and modern, rural and urban, Muslim and Christian, attending to the circulation of water as a means of challenging these supposed binaries. Field recordings made during a sound art residency at Centro Negra (AADK Spain).

Rehab Hazgui (tn/ca)

Rehab Hazgui is a composer and sound artist. Her work explores ways of learning new forms of language through conscious listening and the relationships that beings maintain with their culture, heritage, society, and landscape, conceived as living and engaged participants. Her research investigates how sound emerges within dynamic landscapes whether biological, geophysical, or shaped by human transformations. Her practice focuses above all on the act of listening, understood as an experience that shapes our perception of space, nurtures our relationship to it, and reveals the profound engagement that hearing establishes with the world.

Program 
Chôra (premiere) 10’00”
Chôra explores sound as a perceptive matrix, a receptive space in which sonic phenomena emerge without ever being fully contained. The installation unfolds continuously evolving soundscapes that leave traces in the listener’s memory while shaping their perception of space and time. Each sequence functions as a fleeting imprint, revealing how listening brings presence into being and structures our relationship to the world. The work highlights the tension between place and what manifests within it, between memory and perception, emphasizing that sound, like Chôra, is both the condition for and the revelation of sensible experience. This work has been conceived exclusively for Akousma.