2023 — performed during a residency at Bartels Stiftung, Basel
in Collaboration with Sheree Domingo
The sonification of a live drawing performance by comic artist Sheree Domingo, Riverthing uses microphones integrated within ice cubes made of water from the nearby Rhine to capture the scratching of the artist's feather. 

Using the melting ice as a supply of water, Sheree Domingo diluted her ink and laid stories from the river on a roll of paper, the shape of which represent the bend of the Rhine as it goes through the city. The stories are from today but also historical and mythical representations of the river as a place imbued with the power to transfer the souls of the recently deceased into the bodies of newborns to be.

Madame Choi & The Monsters
with Sheree Domingo, Patrick Spät, AUUNAN
Composition of a soundtrack for the live reading of comic book Madame Choi & The Monsters by Sheree Domingo & Patrick Spät, published in 2022 by Edition Moderne. The work merges analog vignettes produced using no-input mixer feedback loops, and a digital component composed on KORG Gadget. The soundtrack for the second part of this twofold story was composed and recorded by AUUNAN
Harmonium Duo
2018 — 2020
with Wissam Sader
A conversation between two salvaged harmoniums, this duo with Wissam Sader layers dissonant harmonies into a durational, quadraphonic drone piece. Premiered during DAT Festival 2018 and repeated for a Sleepover Drone event, this performance is better served at 5am, eyes shut, possibly with a side of peaceful snoring.

2017 — 2020
with Diana Neranti, Dimitri Cacouris, Luke Swenson & many more
Playfully subversive, dance-theatre collective REPLICA explores how technical evolutions, emergent cultures and social change merge into new imaginaries. Its goal is to foster collaboration between performers, directors, and scientists, who together attempt to imagine new rituals. The resulting pieces are plays where movement and audiovisuals feed into each other, as well as devising workshops and prototyping sessions.
The Next Christina Aguilera
2017 — 2019
The illegitimate offspring of BR∆D∆D∆RMPITT$ and €£IT€ DJJ M¢$W€AT, Christina is a spoiled brat living in the gutters of Kreuzberg. She spends her days singing glitchy~noisy hip-hop anthems to a glorious trigital future while getting high on autotune. And because more is more, Christina packs it all into a tacky show with over-the-top light effects and stuff, for the better but mostly for the worse.

During her chaotic career, Christina has performed in Berlin, Potsdam, Mexico City and Rouen. She is now in her second year of silent retreat with a pantryful of puff pastries but, who knows, maybe sometimes she'll see the light again. Stay tuned, or don't, what does she care?

Deep listening
2017 — 2020
with Or Sarfati
Developed in collaboration with audiovisual artist Or Sarfati (St?Gma, DAWN), ?erta merges reinterpretations of traditional Ud melodies with an electronic setup through which a cymbal and two water harps come to life, using acoustic resonances to modulate the distortions from an array of half-baked electronics and fuzzy vintage mixers.
2016 — 2017
An undercover and spontaneous collaboration with Uchi's alter ego ウチ whose noisy endeavours tke the shape of ominous ambient drone pieces, グラスウチ (Gurasuuchi) was a four-way conversation piece for Moog oscillators, feral bristlebots, drum machines and abstract gong beats, amplified and distorted through intensive feedback loops.

Glass Lärm / Engine
2015 — 2016
in collaboration with Analytical Engine and DFVOKKLL

A collaboration with German scientist Analytical Engine, Glass Engine combines water harps and algorithms, chopped-up voice and rubber ducks, natural and synthetic sounds into an eerie elemental drone set. With complex, organic textures slowly but surely hovering back and forth between dream pop and harsh noise, the duo proposes a subaquatic journey guided by the spirit of Jean-Jacques Cousteau.

Glass Lärm is a collaboration with Italian harsh noise legend DFVOKKLL, pushing the organic sounds of water dripping and boiling, air escaping and exploding towards limits of the audible—a concerto of squeeking water and bubbling plastic. None of it makes sense and yet, somehow, it's there.
A release titled Glass Nest / Engine / Lärm, recorded and mastered by Samuel Moncharmont, was published through Noiseberg in 2015 in both tape and CD format.