Artist CV

Exhibition History

Jasmine Guffond's sound art and interventions have been exhibited internationally. Venues include Deutsche Oper Berlin, Akademie der Künste, the Liquid Architecture Festival, and 48 Stunden Neu Kölln. Her work consistently interrogates the intersection of sound with social, technological, and political systems — rendering audible the infrastructures that shape contemporary life.

Sound art exists at the intersection of listening and the invisible forces that shape modern life. By translating the ephemeral signals of Wi-Fi networks and GPS satellites into audible textures, the work invites audiences to hear the infrastructures that surround them daily. These are not merely technological demonstrations but sensory investigations into how data flows condition our experience of public and private space. The act of listening becomes a form of awareness, revealing the political and social dimensions embedded in the electromagnetic spectrum. Each installation repositions the listener as an active participant in a landscape where the sonic and the algorithmic converge.

Interventions in public space often challenge the boundary between performance and everyday life. By working with site-specific conditions, the artist transforms urban environments into temporary listening chambers where passersby encounter unexpected sonic presences. These interventions draw attention to how architecture, surveillance systems, and networked technologies mediate our relationship with the city. The work does not simply occupy space but activates it, encouraging a heightened sensitivity to the acoustic and informational layers that normally recede into the background of perception. Each gesture is a proposition for rethinking how we inhabit shared environments.

The relationship between listening and memory is a recurring thread across many projects. Sonic traces of past events, movements, and communications linger in the air long after their source has vanished, and the work often seeks to capture these residues. By recording and recontextualizing found sounds, field recordings, and signal fragments, the artist constructs auditory archives that speak to the fragility of lived experience. These compositions do not document so much as evoke, allowing listeners to inhabit a space between recollection and imagination. Sound becomes a vessel for time itself, carrying whispers of what was and what might yet be.

Collaborations with institutions and festivals across Europe and Australia have allowed these sonic investigations to reach diverse audiences in concert halls, galleries, and unconventional venues. Each presentation adapts to its context, responding to the specific acoustic and social conditions of the site. Whether through multichannel installations, live performances, or participatory walks, the work maintains a consistent focus on the politics of listening and the materiality of sound. These projects affirm that attentive listening is a critical act, one that can reveal hidden structures of power, connection, and belonging within the technological fabric of contemporary life.