Marinos Koutsomichalis is a media artist, scholar and creative technologist. He was born in Athens, GR (1981) and has since lived and worked in various cities around the world. His practice is hybrid, nomadic, and ethnographic, involving field-work, coding, critical theory, making, lecturing, live performance, workshopping, artist/research residencies, ‘Doing-It-With-Others’, and hands-on experimentation with materials and technologies of all sorts. In this way, it draws on, and concerns, various subareas in arts, humanities, science, technology, philosophy, and design. His artistic corpus is prolific, yet persistently revolving around the same few themes: material inquiry/exploration; self-erasure (in/through performance and production tactics of all sorts); the quest for post-selfhood (through social, hybrid, and networked practices involving both human and nonhuman actors). He has hitherto publicly presented his work, pursued projects, led workshops, and held talks worldwide more than 250 times and in all sorts of milieux: from leading museums, acclaimed biennales, and concert halls, to industrial sites, churches, project spaces, academia, research institutions, underground venues, and squats. He has held research positions at the Norwegian University for Science and Technology (Trondheim, NO) and the University of Turin (IT), and has taught at the University of Wolverhampton (Birmingham, UK) and the Technical University of Crete (Rethymnon, GR). Between 2011 and 2018 he has been the head of Contemporary Music Research Centre’s (KSYME-CMRC) class of sound synthesis and electronic music. He is responsible for more than 20 academic publications in scientific journals and conference proceedings, for a series of music albums and for a book. He is the founder of ‘Ubique Media’—offering ad-hoc software/hardware solutions for media artists. He has a PhD in Electronic Music and New Media (De Montfort University, GB) and a MA in Composition with Digital Media (University of York, GB).
contact: me [at] marinoskoutsomichalis [dot] com.
- Bozar Centre for Fine Arts (exhibition). Brussels, BE.
- Contemporary Art Festival Sesc_Videobrasil (exhibition). São Paulo, BR.
- Documenta (performance/commission). Athens, GR.
- Transmediale (exhibition/performance/workshop). Berlin, DE.
- Ars Electronica (comission). Linz, AT.
- WRO Media Art Biennale (exhibition). Wrocław, PL.
- Athens Concert Hall (Megaron). Athens, GR.
- The Barbican Centre (software). London, GB.
- Greek National Museum of Contemporary Art (exhibition). Athens, GR.
- Fondazione Giorgio Cini (exhibition). Venice, IT.
- University of Turin (research fellowship). Turin, IT.
- Norwegian University for Science and Technology (post-doc). Norway, NO.
- Holotype Editions (LP). Athens, GR.
- Onassis Cultural Centre (exhibition/performance). Athens,GR.
- Swedish National Centre for Electroacoustic Music and Sound-art (EMS)(residency). Stockholm, SE.
- Danish International Visiting Arts program (residency). Copenhagen, DK.
- Fylkingen (performance). Stockholm, SE.
- Entr’acte (CD). London, GB.
Selected Press Quotes
- ‘Ereignis is like conceptual art created by machines to taunt us with our own mortality‘ (Russell Cuzner, The Quietus)
- ‘a switch concept for notions of time – functional and dysfunctional, and as such tries to act as an anthropological operator for cultural techniques of temporality’ (Jussi Parikka, Machinology)
- ‘One of those releases made to be played endlessly, day in day out’ (Massimo Ricci, Brain Dead Eternity)
- ‘Koutsomichalis slides his primitive building blocks alongside one another, letting them thrum and squirm, merge and clash, and so setting in motion a haze of unruly overtones’ (Chris Sharp, The wire)
- ‘avec une attention au détail accrue, avec cette impression de pouvoir observer les vies minuscules du son en train de se faire [..] un discours unique, une ligne, mais d’une grande complexité qui ne paraît jamais plus agitée que, paradoxalement, dans ses moments les plus statiques’ (Kasper Toeplitz, Prèsent Continu)
- ‘Powerful in all its roughness but also in all it’s silence it forces itself upon the listener and pierce in your head. Great!‘ (Frans de Waard, Vital Weekly)
- ‘Maximum psycho-acoustic rewards’ (Ron Schepper, Textura)