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The Art of Resonance: Christina Hazboun

From November 2024 onward, the research cluster THE ART OF RESONANCE (KASK & Conservatory Gent) is organising a series of informal listening sessions with international artists and researchers, with an eye (and ear) to cultivating a sonic sensibility and relationality.

Muziekbibliotheek, Gent
24 April 2025 16:00

Christina Hazboun is a Sonic Agent, surfing soundwaves in search of ear-gasms, exploring music and sound in space, time and society. Her multifarious adventuring through music and sound manifest through an intersectional web of activities aimed at amplifying the voices of the underheard from the SWANA and the global majority via poetic and research based texts, audio/sound collages, workshops, and curation with a focus on music industries, gender diversity and digital connectivity. Her main sphere of activity focuses on increasing the appearance and audibility of new sounds and music from West Asia, North Africa and the global south sharing hybrid, diverse and powerful voices with those who come with an open ear.

In collaboration with the research project Transnational Solidarity (Mohanad Yaqubi, KASK School of Arts).

Echoes of Dissent (Vol. 5) X-Ray Hex Tet // Documentation

Sat 19 October 2024 > Sun 20 October 2024, les Ateliers Claus Brussels

What could it mean to practice politics by performing music? How could musical improvisation – as a process of collectively searching for sounds and for the responses that attach to them, rather than thinking them up, preparing them and producing them – reconfigure our sense of the world? How can we experience and understand music not simply as what presents itself in the context of sound-phenomena-organized-in-time-and-exchanged-for-cash within the factory of post/industrial capitalism, but also, as an aesthetic-poetic-political mode of enquiry, a mode of perception, a way of learning and sharing – in and outside of the vibrations of sound or the marks of language?

These and other questions will be explored over two days through the practice of X- Ray Hex Tet – an ongoing collaboration between:

Billy Steiger – celeste and violin
Crystabel Riley – drums
Edward George – words and music
Pat Thomas – piano and electronics
Paul Abbott – drums and synthetic sounds
Seymour Wright – alto saxophone (actual and potential)

Six musicians of different backgrounds working at the margins of what is (to many) acceptable in terms of music, genre, technique, interpretation, history and ‘tradition’; a set of subjectivities, energies and philosophies who, in dialogue together, venture and probe the awkward wealth and friction of investigation, finding pleasure (and treasure) in searching for the hidden, secret, and mysterious at the edges of music and meaning.
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In the context of the research project Echoes of Dissent (KASK & Conservatory / School of Arts Gent). In collaboration with Courtisane, Auguste Orts and In vitro, with the support of VGC (Vlaamse Gemeenschapscommissie) and Q-O2.

STEGI.RADIO TAKEOVER 2025

Full programme available here.

STEGI.RADIO Takeover returns in 24 & 25 January with an even more resonant lineup to unfurl its diverse character and transform the Onassis Stegi into a kaleidoscopic musical playground. With guests from the international and domestic scene and unpredictable and original selections, the online radio station of Onassis Stegi celebrates for another year the many different aspects of contemporary sound through a multi-dimensional curation that runs the gamut of the global electronic scene.

The Main Stage is once again ‘dressed’ as a club that fills with the electro outbursts of Kittin, who comes to Athens after her impressive performance at the opening ceremony of the Olympic Games in Paris, the impetuous rhythms of the ‘Pope’ of minimal techno Robert Hood, the politicized, insurgent jazz of Irreversible Entanglements, who released their latest album on Impulse, the playful mix of disco, acid, and techno of David Vunk, the unpredictable genre marriage of Crystallmess, the cheeky combination of trap and rebetiko of Black Morris, aka Negros tou Moria, and the uproarious garage psychedelia of Acid Baby Jesus.

Onassis Stegi -1 radiates the intensity and hedonism of an underground club in a metropolitan center where different communities and subcultures meet and mix, with the frenetic beats of De Schuurman, the Mediterranean new club blend of STILL and Deena Abdelwahed, and the Afroglobal energy of Catu Diosis, artist of the Nyege Nyege Tapes label.

The Upper Stage is dedicated to Greek artists, with live performances by the now-acclaimed The Boy, the introverted, idiosyncratic Larry Gus, the up-and-coming cabaret pop singer-songwriter Kristof, and Venus Volcanism, who mixes polyphonic and traditional singing with experimental electronic music. The Upper Stage also includes a performance by Grand River, an Italian cinematic ambient artist.

Meanwhile at Onassis Stegi +3, join us for two hours-long sets by Dimitri Papaioannou, with eclectic ambient selections, and A@H2O, with dub, calypso, and reggae sounds, as well as a listening session by Invernomuto and a conversation between Yannis-Orestis Papadimitriou and Stoffel Debuysere, as part of the “Ways of Listening” program.

Shadows of the Unseen / Movement Radio 44

44th episode of “Shadows of the Unseen” for stegi.radio Athens. Airing January 2025

1. Derek Jarman, Simon Fisher Turner, Russell Hasswell, Golden (From Silence – A Quiet Manifestation Of The Future, 1993)
2. Simon Fisher Turner, Sloane Square (From Sloane Square, Derek Jarman, 1976)
3. Simon Fisher Turner, The End Credits / Front Credits / Morocco Pop (From Edward II, Derek Jarman, 1991)
4. Brian Eno, Distant Hill (From Glitterbug, Derek Jarman, 1994)
5. Simon Fisher Turner, In the Still of Night / Michele of the Shadows / The Waters of Forgetfulness (From Caravaggio, Derek Jarman, 1986)
6. Simon Fisher Turner, The Peacock (From Edward II, Derek Jarman, 1991)
7. Elisabeth Welsch, Stormy Weather (From The Tempest, Derek Jarman, 1979)
8. Excerpt from Jubilee (Derek Jarman, 1978)
9. Psychic TV, Elipse of Flowers (Theme for Home Movies, a video journal, Derek Jarman, date unknown)
10. Excerpt from The Tempest (Derek Jarman, 1979)
11. Brian Eno, Radiothesia III (From Glitterbug, Derek Jarman, 1994)
12. Psychic TV, Rites Of Reversal (Tonal theme intended for a film by G. P-Orridge of Williams S. Burroughs for which Derek Jarman was the camera person, date unknown)
13. Alexander Tucker, Keith Collins, At Dungeness (from Fifth Continent, Alexander Tucker, Keith Collins, 2023)
14. Vini Reilly, Fermina 4 (From Bue, Derek Jarman, 1993)
15. Annie Lennox, Every Time We Say Goodbye (From Edward II, Derek Jarman, 1991)
16. Robin Rimbaud, Fravaer (From The Garden Is Full Of Metal – Homage To Derek Jarman, 1997)
17. Simon Fisher Turner, Derek Jarman reads White Lies (From Under The Arches, 2024)
18. Simon Fisher Turner, Penniless in Pescara (From Caravaggio, Derek Jarman, 1986)

Preemptive Listening

14 – 18 January, 2025
BOZARCINEMA, Brussels

Preemptive Listening
Aura Satz, UK, FI, 2024, DCP, 89′

On 14 January after the film, there will be a conversation with director Aura Satz led by Stoffel Debuysere, as part of the Echoes of Dissent project (KASK & Conservatorium / School of Arts Ghent).

In an age of intersecting political, man-made and ecological disasters, Preemptive Listening is an ode to the sirens that are and those that could be. Siren compositions from over 20 collaborators form a resonant voice to ask; Does an alarm have to be alarming?

“At its most basic, beyond any learned sound signal, the siren is firstly a call to attention, secondly a call to action, and lastly, it faces the future.” Aura Satz

Featuring newly composed sirens by: Laurie Spiegel, Evelyn Glennie, Maja S. K. Ratkje, Anton Lukoszevieze, BJ Nilsen, Ilpo Väisänen, Rhodri Davies, Mazen Kerbaj, FUJ||||||||||TA, Sarah Davachi, David Toop, Christina Kubisch, Moor Mother.

Aura Satz (Barcelona, 1974) is a London based artist who works with film, sound, performance and sculpture. Satz has made several film portraits of listening and compositional practices as well as works centred on sound technology and unusual notation systems. Preemptive Listening is her first feature.