M I M I  is a multidisciplinary artist, DJ & curator based in Brussels.
She describes her work as an ongoing conversation with nature, where she gets most of her inspiration from. Exploring boundaries between the natural world and the manmade, she uses different mediums, blends of multiple genres, organic pallets, and textures to find answers to existential questions whilst constantly gravitating around nature. She sees her work  as a research, channeling nature in order to respond or get closer to a certain truth.

17 Days presents M I M I

STEVEN WARWICK - URBAN RENEWAL
radio play of a performance realised at Klosterruine Berlin on Easter Sunday 2022.

Two babies stand before me, but will they escape the spectre of Oedipus? The protagonists embark on an epic journey, encountering the blessed and the sick. Children become babies, babies become children and adults in turn become babies. A journey laced laced with pitfalls of falling down yet another rabbit hole. Thankfully, the Easter bunny has left some clues. Riddled by guilt, the two babies transform into symbols of nourishment, but will they leave some left for the rest of society? Will they use this source of knowledge to finally rid themselves of fraticidal impulses, the purgatory of becoming googi gaga? A delirious modern fairytale as filtered under the influence of Melanie Klein, Steven Warwick sprinkles on several other ingredients and constructs his own gingerbread house.

URBAN RENEWAL (RADIO PLAY) by Steven Warwick

a free canon choir interpretation of Jeff Dolven's poetry, taken from the poems collection "Speculative Music"

Elena Radice, Humming Bird

"Age of Excess is a song I conceived within the Eroicaverse which refers to decadent periods such as Paris towards the end of the 19th century, America in the 1920s, and America in the 1980s, as well as referring to the world in the 2020s that follow an aesthetic ideology of excess, artificiality, and natural decay. The artwork was created by myself and John Sampson from a photograph I took at Versailles."

Born from parents of Nigerian descent in the American south (b.1984, Tuscaloosa, Alabama), Richmond, Virginia-based Chino Amobi bridges the fields of contemporary art, electronic music, literature, film and fashion with experimental ease. Working across these platforms enhances the richness of each medium; indistinguishable, they dissolve together in unity within the exhibition space.

Amobi’s science fiction narrative, Eroica, is a thriller after the tradition of the Epic poem. Originally a novel, Eroica now unfolds as a cinematic Gesamtkunstwerk situated between history and myth — as an immersive maximalist staging with paintings, graphic flags, a light display, garments, film, sculptural props, an overlapping sound work and a revolving cast of live performers.

Chino Amobi - Age Of Excess

Samandari Ehsaasat / Oceanic Feelings #3 [2021] by Zahra Malkani brings together found audio and music, interviews and live field recordings that span languages, dialects and musical/mystical traditions across southern Pakistan. This geography, marked by state brutality and militarism, environmental devastation and extractivism, is loud in its “ecstatic grief,” where sacral states journey alongside the coast’s multiple adversities and raucous belongings. Here, the ocean, the river, the boatman and the boat are all recurrent motifs – as obstacles, as vessels, as companions, as bridges, as guides.

Samandari Ehsaasat / Oceanic Feelings #3 was originally commissioned for A Thousand Channels, an audio series by Syma Tariq produced with the festival Colomboscope 2022.

Colomboscope 2021

Sound Ecology invites Zahra Malkani: Samandari Ehsaasat / Oceanic Feelings #3 [2021]

DOORS is an emotionally charged work that reflects the artist's thoughts on dependence, institutional fragility, lack of reparation, collective memory, trauma, and trends of the early 2000s. When presented in the physical space, the work forms a 3-channel sound installation that fills an exhibition room with an overlay of the artist's weeping voice in harmony.


By appropriating and transacting the meaning of the lyrics of a popular dramatic love song released twenty years ago to open a dialogue existing within their theoretical research, Celestino reaches what has been called "updated conceptualism," a term coined by critic curator Cedriq Fauq that identifies the practice of BIPOC artists linked to social justice but that refuse to perform Western expectations of race when exploring these themes.

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