The evening of October 5th brings together Mor Elian and Carmen Villain, two artists who, despite coming from different backgrounds, share a distinct focus on sonic matter, spatiality, and the construction of suspended atmospheres. Mor Elian, based between Los Angeles and Berlin, has developed a language in recent years that pairs microscopic precision with a fluid conception of acoustic space. Solid Space explores territories that extend far beyond the club culture of her origins: broken rhythms, granular textures, and internal movements that alter the perception of time. Her music does not seek immediate impact; instead, it builds an environment where every element seems to evolve according to its own logic, like a constantly mutating sonic ecosystem.

Carmen Villain, a Norwegian-Mexican artist, presents Memoria, her new project, in which ambient research opens up to a reflection on remembrance as a perceptual and imaginative phenomenon. Inspired as much by Apichatpong Weerasethakul’s film of the same name as by Pauline Oliveros’s reflections on ‘sounds remembered internally,’ the work investigates memory not as an archive of the past, but as a living process that resurfaces through listening. Field recordings, processed flutes, clarinet, acoustic instruments, and electronics intertwine into soundscapes of extraordinary transparency, where every timbre seems to emerge slowly from silence. Released for years on Smalltown Supersound, her works are characterized by an essential writing and a refined timbral sensitivity, capable of transforming resonance and rarefaction into authentic compositional elements. Rather than evoking places or landscapes, Memoria constructs a listening space in which sound becomes a trace, a surfacing, and a presence, inviting the audience into a contemplative experience of rare intensity.