Genesis Victoria. Non-binary Sound and performance artist (they/them). Chile, 1989. Master’s degree in Sound Studies and Sonic Arts at UdK Berlin.

Their work consists of creating experimental sound systems and performances for specific sites, creating haptic-sexual ritual experiences with speakers, microphones and sounds through bodywork, from a post-acousmatic queer feminist decolonial approach. Their sound systems are considered ecologies where all participants, human and non-human, create a temporary sonic community, where sounds and gestures create an aesthetic field of diverse sonic zones and/or textures and relations. Their performances respond to the specificity of the sites: their memories, stories/History, material qualities, acoustic, placement and so on.


Queer sonic bodies and ecologies

My artistic research explores the intrinsic relationship between sound, bodies, and technology beyond normative performativity. To find an ambiguous and interesting intersection between sound and performance art, creating conditions of emergency for mutant sonic queer trans bod(ies), beyond the sight-centred ontology beyond cis-patriarchal narratives of inhabiting the world. It is not music, visual art, or theatre. Could it be considered sound arts or performance? Both of these practices, to me, are not fixed categories but contemporary spaces of emergence and artistic experimentation that constantly intersect within the body, challenging their ontological classification as queer trans embodiment. 

Queer sonic bodies and ecologies is a way of to approaching artistic practices and methodologies that I have been developing in performative events creating aesthetic conditions for indeterminate sonic becoming. Sound becomes the first otherness or a threshold of ambiguity (or indetermination), allowing the body to emerge in a manner that surpasses conventional eye-centerd performativity. To position from sound allows bodies to reflect on the distribution of the senses and furthermore re-imagine their social performativity through subversive gestures and embodiments exploring its intersections such as gender, sexuality, humanity, race, class and so different institutions and structures of power. In my work I explore the concept of sonic ecologies and embodiments through sonic events that encompass all agents as part of a sonic atmosphere, where speakers, sensors, bodies, sounds, and information interact with each other, activated by the artist. The artist, in this sense, also possesses the ability to bring forth the unnamed or the abject through aesthetic operations in their work.