Marinos Koutsomichalis’ research and artistic activities reciprocally inform one another by virtue of a mixed method that combines situated creative practice, bespoke software/hardware development, landscape exploration, ethnographic field-work, critical theory, live performance, production residencies, experimental making, and DIWO (Do It With Others) workshopping. In this way, they draw on, and concern, various subareas in arts, humanities, science, technology, philosophy, and design, with academic peers describing aspects of his research output as “interesting from the point of view of sociology, ethnography, anthropology, geography, new materialist, post-human and actor network theories“, “delivering a novel mix of art, performance, and archaeology that will appeal to the field of archaeology as a whole“, “a holistic knowledge-production journey towards the politics and poetics of the human-nonhuman relationship“, “challenging a number of tacit assumptions in New Interfaces for Musical Expression“, “to be received with fascination by artists, academics and scholars from disciplines such as philosophy, material culture studies, cultural geography, sound studies, and others working around post-humanist materialism, phenomenology and hyper-constructive modalities“, “demonstrating not only why a critique of taken-for-granted object-oriented ontology is necessary [..] but also how this critique can be exercised through employment of mixed empirical experiments and analyses for research“.
His artistic corpus is prolific, yet persistently revolving around the same few themes: material inquiry/exploration; self-erasure (in/through performance and production tactics); the quest for post-selfhood (through social, hybrid, and networked practices involving both human and more-than-human actors). He has hitherto publicly presented his work, pursued projects, led workshops, and held talks worldwide more than 300 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 published more than 15 music albums and two art books, while works of his are featured in many exhibition catalogues and artistic fora. Critics have described projects of his as “a switch concept for notions of time [acting] as an anthropological operator for cultural techniques of temporality“, “conceptual art created by machines to taunt us with our own mortality“, “setting in motion a haze of unruly overtones“, “piercing in your head“, “made to be played endlessly, day in day out“, “snippets of sound that hung in space, creating a sense of timelessness and achieving timbral qualities that are by turn ethereal and aggressive“, “winding up the pitch of tonal masses to almost unbearable degrees of tension [and offering] maximum psycho-acoustic rewards“.
He has a PhD in Electronic Music and New Media (De Montfort University, UK) and a MA in Composition with Digital Media (University of York, UK), has held research positions at the Department of Computer Science in the Norwegian University for Science and Technology (Trondheim, NO) and at the Interdepartmental Centre for Research on Multimedia and Audiovideo in the University of Turin (IT), and has taught at the University of Wolverhampton (Birmingham, UK), the Center of Contemporary Music Research (Athens, GR), and the Technical University of Crete (Rethymnon, GR). He is responsible for numerous publications in scientific journals and conference proceedings and for a monograph book. Reviewers have deemed academic writings of his as “exceptional“, “fully complete and academically rigorous“, “highly original“, “extremely elaborate, thought-provoking, thorough, well-written and of high-quality“, “artistic research at its best“, “[having] absolutely no loose ends nor any ambiguities or inconsistencies between sections“. He is an Assistant Professor in Creative Multimedia at the Cyprus University of Technology (Limassol, CY) where he co-directs the Media Arts and Design Research Lab.
Contact: marinos at marinoskoutsomichalis dot com
Marinos Koutsomichalis is a licensed radio amateur with callsigns M0JYD and SV0SYW
Image above by Andreas Simopoulos, Athens 2016.
- Bozar Centre for Fine Arts [exhibition]. Brussels, BE.
- Museo Nacional Centro de Arte Reina Sofia [exhibition]. Madrid, ES.
- Documenta 14 [performance]. Athens, GR.
- Transmediale [exhibition/workshop]. Berlin, DE.
- Ars Electronica [exhibition]. Linz, AT.
- WRO Media Art Biennale [exhibition]. Wrocław, PL.
- Athens Concert Hall (Megaron) [performance]. Athens, GR.
- Contemporary Art Festival Sesc_Videobrasil [exhibition]. São Paulo, BR.
- Greek National Museum of Contemporary Art [exhibition]. Athens, GR.
- ElektronMusicStudio (EMS) [residency]. Stockholm, SE.
- Worm [residency]. Rotterdam, NL.
- Stormen Kulturhus [performance]. Bodø, NO.
- Holotype Editions [LP]. Athens, GR.
- Onassis Cultural Centre [exhibition/performance]. Athens,GR.
- Danish International Visiting Arts program [residency]. Copenhagen, DK.
- Fylkingen [performance]. Stockholm, SE.
- Entr’acte [CD]. London, UK.
‘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)
'Les origines de Marinos Koutsomichalis pourraient instinctivement nous amener à penser au Vésuve comme symbole de cette musique éruptive, cette noise électronique et organique'(Laurent Nerzic, Revue et corrigée)
‘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)