Jasmine Guffond

CTM, Berlin, 2020

CTM Festival, Berlin 2020 (visuals by Ilan Katin). Photo by Udo Siegfriedt.

Jasmine Guffond is an artist and composer working at the interface of social, political and technical infrastructures. Her practice spans live performance, recording, sound installation and custom made browser add-on. Through the sonification of data she addresses the potential of sound to engage with contemporary political questions and engages listening as a situated knowledge practice.

Interested in providing an audible presence for phenomena that lies beyond human perception, via the sonification of facial recognition algorithms, global networks, or Internet tracking cookies she questions what it means for our personal habits to be traceable, and for our identities, choices and personalities to be reduced to streams of data.

Jasmine has exhibited internationally including composing sound for Shulea Cheang’s installation at the Taiwanese Pavilion, Venice Biennale, 2019, and collaborating with Zorka Wollny on a sound installation for the Chicago Architecture Biennal, 2019. She completed her Sound Studies masters at the University der Künste in 2015, received the ‘Working Grant for New Music und Sound Art’ from the Berlin Senate in 2016 & 2021, was featured in Wire magazine in 2019 and interviewed for ‘Listen to Lists’ a publication by Haus der Kulturen der Welt and Spector Books, 2021. She has performed live internationally at electronic music and art festivals including opening for CTM festival in 2020 and a commissioned work for the Groupe de Recherches Musicales (GRM) Acousmonium, premiered in Paris at Présences Électronique in 2022. Intuitively exploring abstract sounds as well as referencing traditional musical structures, she has released solo records to critical acclaim with the Sonic Pieces (2015, 2017), Karl Records (2018) and Editions Mego (2020) labels. In 2021 Dr. Jasmine Guffond completed her PhD at the University of New South Wales Art, Design & Architecture department, where she conducted research into sound as a method of investigation into online surveillance cultures. She teaches casually at the Sound Studies and Sonic Arts masters program at the UdK in Berlin.