Anders Flodin studied composition in Oslo with Olav Anton Thommessen, in Bratislava with Vladimir Bokes, and Prague with Prof. Svatopluk Havelka. In addition to this, he has taken courses in electroacoustic music for Rolf Enström, and classes in composition for Jan W Morthenson, Flodin has taught music theory and composition at Örebro University and at universities in Norway, Lithuania, Ukraine, Brazil and in Azerbaijan. He has been awarded the Carin Malmlöf-Forssling Prize and Royal Academy of Music. Flodin’s music is performed both in Sweden and abroad. In his most recent compositions, he often combines the sound of instruments with electronic voices.

Annette Vande Gorne is a pioneer of acousmatic music, working across multiple fronts to unite creative excellence with musical and pedagogical innovation. A graduate of the Royal Conservatories of Mons and Brussels, as well as the Université Libre de Bruxelles, she began her career teaching music history, harmony, and piano.

In 1982, she founded Musiques & Recherches and launched the seminal festival L’Espace du Son. Driven by an untiring spirit, she also established the Metamorphoses and Espace du Son competitions, the Influx acousmonium—equipped with 100 loudspeakers—and a documentation center. In 2022, she created the Annette Vande Gorne Foundation, dedicated to supporting young composers.

As an artist, she has performed in over 700 concerts and masterclasses. A recipient of prestigious awards such as the SABAM, Schaeffer, and Octave, she remains fascinated by nature, physics, and the human voice. She continues to bridge sound spatialization with the history of musical creation, composing works that blaze new trails across musical and sonic territories.

Arto Lindsay traverses between many different territories. Born in the United States and raised in Brazil, he has spent his career building a body of work that crosses sonic, cultural, and artistic borders. As a guitarist, composer, producer, and performer, he was a pivotal figure in the New York No Wave scene, yet he never ceased his dialogue with Brazilian music.

With no formal training, Lindsay forged an atonal and percussive guitar style, contrasting intense noise with an incredibly smooth voice—transforming the instrument into open fields of investigation. Described by Ryuichi Sakamoto as an artist of unparalleled vision and “profoundly musical,” he has collaborated as a songwriter or producer with icons such as Caetano Veloso, Marisa Monte, Laurie Anderson, David Byrne, and Sakamoto himself, constantly expanding the possibilities of listening.

His work inhabits the precise intersection of sound art, performance, popular music, and the avant-garde. In this edition of Maar, he will set this sonic whirlwind in motion through the dissonant encounter between guitar and voice.

Born in Juazeiro (BA) and based in João Pessoa, Chico Correa is a pioneer in fusing Northeastern Brazilian folk culture with electronic music. Active since the late 1990s, he has transformed computers and technology into extensions of his own body and creative process, consolidating an unmistakable sonic signature.

His career gained prominence in the early 2000s with Chico Correa & Electronic Band, a project that weaves traditions such as coco de roda, maracatu, and baião together with global genres like dub, afrobeat, and trip-hop. As a multi-instrumentalist and producer, he goes far beyond the dancefloor groove: he manipulates samplers, effect pedals, and electronic backing tracks to process organic elements—such as vintage vinyl records of violeiros and aboiadores—creating complex musical textures in real time.

With a history of collaborations alongside artists and bands such as BaianaSystem, Maga Bo, DJ Dolores, and Seu Pereira e Coletivo 401, as well as performances at festivals across Europe, Africa, and Asia, Chico arrives at Mostra MAAR exploring his more experimental side. Temporarily moving away from dance-oriented dynamics, he presents a solo performance focused on drones, textures, and ambiences, weaving the mystery and spatiality of electronic music with the deep roots of regional culture.

Brazilian producer Rodrigo Coelho  has produced work in many different genres throughout his career, including collaborations with celebrated guitarist and composer Arto Lindsay and drummer Ivan ‘Mamão’ Conti under his grassmass moniker, as well as projects with Brazilian contemporaries Negro Leo and Thiago Nassif. During pandemics, he released his first album under a new alias, CØELHO, which he describes as being suited to “more subtle, contemplative works”. Titled Six Sines, the album came out of his studies using resonant filters as instruments, and draws its inspiration from the complex unpredictability that arises from the entanglement of simple structures in natural and artificial systems. Coelho presents an audiovisual take of Six Sines alongside visuals by artists Fernando Velázquez and Leticia RMS.

Dudu Prudente is a drummer, composer, music producer, and sound engineer. Born in
Sergipe (Brazil) and based in Belgium, he builds his work through the encounter of
different cultures and sound languages.

Over the past two decades, he has collaborated with a wide range of artists in multiple
roles: musician, producer, recording and mixing engineer. He is co-founder of the
Belgian-Brazilian group Anavantou, which bridges traditions of Northeastern Brazil
with the Belgian music scene, and is also a member of the experimental group
Membrana (Brazil) and the instrumental trio Munsch (Belgium).

Currently, he divides his time between Estúdio Orí (Sergipe) and the sound atelier
MAAR (Belgium), where he is dedicated to research and the composition of
electroacoustic works, sound creations, and installations. Since 2022, he has been
studying acousmatic and electroacoustic music at the Institute Musiques et
Recherches (Lasne, Belgium) under the guidance of Annette Vande Gorne, a worldwide
reference in the genre. His works have been presented at festivals such as BOEM
(Ghent) and Electrobelge (Brussels). In 2024, his piece Calcaire was funded by the
Fédération Wallonie-Bruxelles, received an honorable mention at the Musica Nova
Festival (Prague, 2023), and won the award for Best Composition from the technical
jury of the Métamorphoses Competition, part of the Festival L’Espace du Son (Brussels,
2024). His most recent creation is Parapitinga Vaz’A Baril, a mixed acousmatic piece
for 8 channels inspired by the Vaza-Barris River.

In his creations, Dudu explores micro-ecosystems of sound, transforming gesture,
texture, and electroacoustic listening into organic matter in constant motion. His
aesthetic expands from the microscopic to the vast, seeking to unveil hidden universes
within sound and project them into imaginary landscapes. Between the experimental
and the visceral, his music investigates the encounter between nature, memory, and
technology, shaping experiences that resonate both intimately and collectively.

Flo Menezes breathes sound. A composer, theorist, researcher, and visionary, he is one of the world’s leading figures in electroacoustic music. Holding a PhD and serving as a Full Professor at UNESP, his trajectory merges the techniques of contemporary music masters—such as Pierre Boulez, Luciano Berio, and Karlheinz Stockhausen—with technological innovation.

A graduate of USP with a specialization in electronic music from Germany, Menezes develops a body of work that investigates the profound relationships between technology, space, and listening. He has received prestigious international awards, including those from UNESCO and Ars Electronica, with his pieces performed in concert halls and festivals worldwide.

A master of maximalist music, he has dedicated his career to research and the training of new generations of composers. He is the founder of Studio PANaroma, Brazil’s premier center for electroacoustic production, and the creator of the country’s first loudspeaker theatre. Transforming sounds into unique spatial experiences, Flo invites the audience to expand their listening, perceiving sound as both construction and movement.

Gilberto Monte is a composer, music producer, curator, cultural manager, and multi-instrumentist with two Latin Grammy nominations (Best Samba Album and Best Audio Engineering for the album Anaí Rosa Atraca Geraldo Pereira – Selo Sesc, 2019) and one Oscar nomination (“The Edge of Democracy”, 2020). A graduate in Composition and Conducting from UFBA, he has collaborated throughout his 35-year career with some of Brazil’s most renowned artists, including João Bosco, Gilberto Gil, Lenine, Zeca Baleiro, Arto Lindsay, Mateus Aleluia, Juçara Marçal, Chico César, and Zé Miguel Wisnik, among others. As a composer, he has created works for dance companies—such as the Balé da Cidade de São Paulo—as well as visual art installations, sound installations, and film scores. Gilberto is the co-director and curator of the Música Estranha festival and possesses over 10 years of experience in the public and social sectors. He has worked at both state and federal levels, developing public policies and initiatives focused on the expansion, modernization, and democratization of Brazilian art and culture.

The work “Every Single Thing Has Its Infinity” (2014), a single-channel video (1’35”) created in partnership with artist Mayra Lins, was the only piece from Latin America selected for The 4th Taiwan International Video Art Exhibition 2014 (2014 TIVA) – “The Return of Ghosts”.

God Pussy, featuring Jhones S. as its sole member, began its activities in 2008 in the outskirts of Rio de Janeiro. The project moves along the fringes of daily social chaos, influenced by the intensity of the rampant urbanization of large cities and, primarily, by the constant NOISE that suffocates the non-existent silence of these spaces. As a creative action, the intent is to utilize and harness pedals, piezos, synthesizers, noise generators, and other tools to drive an explosion of noise and sonic saturation as (anti) music—a political aesthetic of direct attack against a humanly deficient society and its hypocritical ambitions corrupted by capital. Dissonance and abstraction thus function as war machines against the immense intolerance and neglect of rulers and their explicit corruption, leaving the population in decay and plunged into a world of misery where basic sanitation, hospital care, and quality education are practically non-existent; a world where abuse of power, violence, and cruelty against the oppressed are frequent. God Pussy is, above all, freedom of expression—a field for absorption, reflection, and social awareness, demonstrating that we do not live in a world of total harmony.

Founded in 2000, the Sergipe-based Grupo Membrana is a trio formed by musicians Pedrinho Mendonça (percussion, vocals, pífano flute, and effects), Dudu Prudente (percussion and effects), and Júlio Rego (harmonica and effects). Inspired by free music and the folk groups of Sergipe, the band’s raw material is the creation of sound, timbre, and sonic stimuli. Their name is an allusion to the plasma membrane—a complex element reflecting the intelligent way the group reacts to and engages with the musical fabric in real time.

Known for their immense spontaneity, the musicians often compose original works directly on stage, deconstructing their repertoire in sync with the audience to create poetic and unique performances. With a deep cultural background rooted in Aracaju, Grupo Membrana’s performance at Mostra MAAR will feature multi-instrumentalist Joana Queiroz, from Quartabê, who is also part of the festival’s lineup in a solo performance.

Inés Terra is an argentine-brazilian singer, sound artist, and producer whose work spans music, sound art, and performance art, with a focus on the voice as a central element in creative processes. She holds a PhD from the University of São Paulo, where her research explored vocal performance as a form of bodily inscription and autofiction. Inés is the creator and curator of Língua Fora, a series that fosters a shared space for improvisation, showcasing works that highlight “the power of voices beyond words, intersecting with analog and digital technologies. She enjoys improvising with the birds that visit her home and with invented instruments that combine distant materials. In her practice, she considers the voice as a force capable of gathering memories, sounds, and forms of listening.

Jaime Reis is a Portuguese composer who studied with Karlheinz Stockhausen and with Emmanuel Nunes, after studying Composition and Electronic Music with J.P.Oliveira. He is the founder and artistic director of Projecto DME (since 2003) and of Lisboa Incomum (since 2017). His music, both instrumental and electroacoustic, has been performed in over 20 countries. He has worked with institutions/ensembles such as ZKM, IRCAM, Musik Fabrik, The Vienna Acousmatic Project, Aleph Guitar Quartet, Musiques & Recherches. He is a Professor of composition and electronic music at the Lisbon College of Music (ESML).

Joana Queiroz reimagines Brazilian music through multiple lenses. A clarinetist, saxophonist, singer, and composer from Rio de Janeiro with a 25-year career, her work moves fluidly between the precision of instrumental music and the lightness of song. Her journey includes nearly a decade in the Itiberê Orquestra Família, alongside collaborations with icons of Brazilian music such as Hermeto Pascoal, Arrigo Barnabé, Caetano Veloso, and Maria Bethânia. She is also a founding member of the group Quartabê, which has revisited the works of Moacir Santos and Dorival Caymmi across three albums.

With six solo albums released—most notably Tempo Sem Tempo—Joana has developed a deep creative practice using loop pedals. By layering woodwinds and voices, she creates organic, cyclical textures that evoke chamber music, balancing structured melodies with vast improvisational freedom.

At Mostra MAAR in Aracaju, the artist will present a solo improvisation performance guided by her loop textures, drawing inspiration from the powerful presence of the region’s waters, rivers, and mangroves. In addition to her solo set, Joana will make a special guest appearance with the group Membrana. Aligning with the festival’s vision, she embraces the infinite possibilities and total freedom of experimental sound to deliver a unique performance—one of attuned listening and deep sonic immersion.

Lea Arafah [aka Blua Discórdia] is a neurodiverse travesti, transdisciplinary artist, musician, chef, and music therapist. Active since 2007 in Brazil’s improvised experimental music scene, she has traveled through 20 countries performing solo and in collaboration with other artists. Her primary instrument is the double bass, but her voice and hands manipulate various sound objects in the convection of spontaneous gestures and the crafting of her soundscapes. Recently, she has collaborated with Ritamaria, Odacy Oliveira, Garota Milena, Roda de Código, Ad Hoc Orquestra, Jovem Palerosi, Tatiana Nascimento, Visén, Paulo Hartmann, Sandra Coutinho, Bernardo Pacheco, among other improvisers from the São Paulo scene.

Artist and researcher working in the fields of audiovisual, sound art, and music. She is a sound designer and professor at the Center for Arts, Humanities, and Languages (CAHL) of the Federal University of the Recôncavo of Bahia (UFRB). Her research focuses on experimental sound practices as strategies for teaching sound in Cinema and Audiovisual programs. She is the coordinator of the extension project SONatório – Laboratory for Research, Practice, and Sound Experimentation. She is also a researcher at NuSom (Research Center in Sonology at USP) and LinkLivre (Group for Studies and Laboratory Practices in Free Platforms, Software, and Multimedia – UFRB). Additionally, she is a member of the Sonora network – music and feminisms.

Pedro Bomba is a poet, researcher, journalist, and artist. He is the author of the books “O chão dispõe a queda”, “Extremamente barulhentos certos assuntos, por exemplo”, and “Pra quem não sabia nadar”. He is the curator of RodaBH de Poesia and the editor of the page Videopoesia.BR. His artistic work and research focus on Sound Poetry and Videopoetry. He released the sound pieces “Numtemnumtemnumtem” (2021), “Músicas para ler dormindo no ônibus” (2019), “Última Cassete” (2018), “Se alguém ergue a mão e acena” (2017), “A troco de nada e de ninguém” (2016), and “Amor Coragem” (2015). He is also the author of the videopoems “Bruna Paixão” (2014), “Amor Coragem” (2015), “Todo lugar é lugar” (2016), “Se alguém ergue a mão e acena” (2017), “Eu realmente não sei o que fazer agora” (2018), “Enquanto latem os cachorros” (2018), “Porco Estresse” (2018), “Deito ao teu lado em sentinela” (2019), “Gaiteiras” (2020), “Vestígios” (2020), and “GUERRA” (2020).

Composer, guitarist, intermedia artist and researcher. Interdisciplinary creator working at the intersection of experimental music, graphic notation, and urban intervention. Projects explore expanded musical composition, time cartographies, and collective actions through scores, performances, and participatory projects. Recently has been working on a research in phonetic music (sounds and rhythms of speech) and developing notations that blend elements from musical scores, maps, writing systems and comics visual language. Professor at the Center of Culture, Languages and Applied Technologies of Recôncavo da Bahia Federal University (CECULT-UFRB), Brazil. Coordinates the research project Ritmundano (https://www.ritmundano.org/en) and the extension project RASTA (Radio, Sound Art and Audio Technologies).

Sanjay Majumder is an experimental sound artist and composer working at the intersection of technology, music, and immersive audio. Drawing on acoustics, music technology, and computer science, his work combines algorithmic composition, generative systems, and spatial sound to create multidimensional listening experiences. Using tools such as real-time synthesis, convolution, and machine learning, he explores new approaches to sound structure, texture, and perception. Alongside composition, he develops advanced audio technologies including 3D audio rendering and spatial simulation. His work has been presented in experimental, academic, and performance contexts, expanding contemporary sound art through the fusion of technical innovation and artistic expression.

Valentin Sismann develops a practice that combines acousmatic composition and video. He explores the idea of expanded music, where sound and visuals are expressed in ways that are either poetic, narrative, or conceptual. His works focus on our relationship with technology, particularly recording media, which he questions and manipulates within critical or imaginary spaces.

Music producer, composer, and sound designer with a background in cinema and audiovisual studies. Born and raised in Northeast Brazil, his work is deeply influenced by the region’s traditional rhythms, experimental practices, and an ongoing exploration of the relationship between sound and image. His artistic path began with writing and poetry, which later expanded into music composition and production. Since his earliest projects, he has been interested in sound as a sensory and expressive material, working with texture, layering, and experimental approaches to composition. His creative process is largely intuitive, guided by imagery, atmosphere, and synesthetic associations, while supported by a solid practice in arrangement, production, and sound design.

Verônica Gesteira is a sound engineer, multimedia artist, music producer and researcher born and raised in Sao Paulo, Brasil from a half Brazillian-half Greek family. Holding a Bachelor and a Masters in Electrical Engineering by UNICAMP and a Masters in Music Technology and Innovation by the Berklee College of Music, she transits between technology and art with a unique perspective, shaped by the combination between her artistic practice, her experience as a music and technology worker and her academic background.

Vitor Bossa, from Guaratinguetá, São Paulo, is a transdisciplinary artist whose practice investigates the perception of time, the materiality of media, and sensory ecologies at the intersection of sound, image, technology, and philosophy. A Visual Arts graduate from IA UNESP and currently a Master’s candidate in Electroacoustic Composition at the same institution, he works at Studio PANaroma under the guidance of Alex Buck.Grounded in Henri Bergson’s duration and Jakob von Uexküll’s Umwelt, he develops open systems that articulate translation, corruption, and trace through algorithmic processes. His works—ranging from installations and acousmatic pieces to audiovisual projects—explore the controlled degeneration of signals and human-machine co-creation, creating environments that dilate time and strain the boundaries between memory, noise, and form.

VorticeX is a live electronics project exploring spatialisation, plant-controlled instruments, and the sonification of natural, scientific and technological phenomena. Her works have been broadcast internationally as part of radio festivals and experimental music programming. In 2025 her sonification of Cyclone Freddy appeared on the SBME album Nova Coletânea vol. 01, with its quadraphonic version presented at Knob Detox (UNESPAR). A quadraphonic version of Noctivox was presented at Fest Aquelarre (Morelia, Mexico), and a live quadraphonic work was performed at the II Encontro da Música Eletroacústica Brasileira (UNESPAR). VorticeX is a certified Deep Listening teacher and a member of SBME (Sociedade Brasileira de Música Eletroacústica Brasileira).