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sound instalations
Luxterra (2026)
(work in progress)
Audiovisual installation interacting with data captured from living plants.
Created in collaboration with the Rostu Sklem collective.
More information soon.
Common is the Ground (2026)
Searching for common ground. Performative musical reflection – action, and interactive sound installation – interaction. In electronic and human systems, meaning only arises when we agree on where the zero is. The ground. Without a reference point, the signal is noisy, a poorly grounded system creates loops, and isolated elements are inaudible. Visitors close the circuit by touching: bodies conduct current, resistance turns into sound. People are not perfect conductors – but the system does not play without them. A common language only arises when the elements are connected.
Created for the Academia Film Olomouc festival
Footage coming soon
Štěstí, zdraví, pokoj svatý (2025)
A six-channel spatial music installation for a permanent nativity scene exhibition in the Museum and Gallery in Prostějov.
This musical composition is a gentle, almost meditative piece, supporting the atmosphere of Christmas gathering in contrast to the hustle and bustle. At the same time, however, it carries elements of tension associated with the complicated story of the birth of Christ, in contrast to the typical nativity and carol revelry and naivity. I used almost exclusively acoustic instruments and field recordings of the sounds of nature, because the architecture of the entire exhibition is built by hand and from natural materials, reminiscent of a stable, the place of Christ's birth. It was created in cooperation with the association Omlouvámesepardón.
Particular Particles (2023)
This 8-channel generative site-specific installation took place in the astronomical observatory in Brno, Czechia. Due to the architecture and material of the dome, the acoustic reflections of the sounds coming from the eight speakers, strategically located around and facing the dome, created an immersive atmosphere. With a small movement of the listener’s head, the perception changed completely. For obvious reasons, this is impossible to replicate in a stereo image in the video.
The sounds were composed on a modular eurorack synthesizer system in an ever-evolving generative way, constantly changing in the same way the universe is constantly moving, expanding, and changing.
The analog signals from the modular synthesizer were directly controlling the movements and colors of the laser, which, being projected on a reflective disk consisting of many materials created immersive randomized visual projections around the whole dome.
Collaboration with Klara Wodehn & Katarina Marosi for Sonda festival, Brno
Football Player (2023)
Football Player is a result of collaboration with soundartist Yannis Michos.
In the time of exhausting discussions of the intelligence of inanimate entities, AI, robots etc., this installation aims to elevate this often grim outlook on the future, where the AI is to steal our jobs, our artistic practices or even our fragile concept of feeling special.
The elevation happens through exploring one often overlooked specific aspect of existence - play. Since play is not a human-specific construct, but appears evenly among animals, perhaps we should look into playfulness of the inanimate-intelligent.
In the simplest words, this installation is a robotic character which plays a miniature game of football with itself, while talking to itself at the same time. All of which is being amplified and processed in various ways for an equally as sonic experience, as it is a conceptual and visual one.
SPUI TEK (2022)
fixed media spatial composition for 18 speakers for Rewire music festival in The Hague, April 2022.
It took place outside - at Spiuplein, the central square in the city, in front of the Amare building and the municipality. 18 loud loudspeakers were placed in different locations around the square creating an evolving and immersive sonic site for the Rewire visitors as well as the public. The composition consisted of purely field recordings, aiming to create alienating and out-of-space sonic experiences as well as bringing other organic sonic sites to a space where they seemingly "don't belong".
The composition was created in collaboration with Tristan Beutter as part of the Sounding the Spui project.
For obvious reasons, there is no recording, as 18 channels simply don't allow be mixed into stereo.
Amare AB Corde (2021)
Collaboration with Tristan Better.
The back then freshly opened building Amare in The Hague, Netherlands, was a big, empty, sterile, clean, and pompous building with big hopes of becoming the city’s new cultural center. However, meanwhile inside the engine room, the heart of the building (hence the title - amare in Latin “to love” and corde fin Latin “heart”), different things were happening. Dirt, heat, mosquitos, noise, leakage, and machines upon machines keeping this big empty building “alive”. But no visitor would perceive this, they only get the outer layer.
In an attempt to expose this gut and remind us that everything that’s trying to come across as perfectly clean may have its unpleasant gut somewhere, we have recorded the sounds and videos of the machines and placed them in multiple speakers in the main hall of the building, along with a montage of the visuals. This way, everyone entering would be forced to first get acquainted with that, which was supposed to be hidden.