Biography

About Jasmine Guffond

Jasmine Guffond is a sound artist and composer originally from Sydney, Australia, now living and working in Berlin, Germany. Her practice spans sound art installations, sonic interventions, and experimental music — work that engages with the social, technological, and political dimensions of listening.

Through projects that sonify data networks, interrogate surveillance acoustics, and reimagine public soundscapes, Guffond's work asks what it means to listen in a technologically saturated world. Her compositions and installations have been presented internationally at major cultural institutions and festivals.

Alongside her installation practice, Guffond has released a substantial body of recorded music under her own name and as Jasmina Maschina, with albums appearing on labels including Sonic Pieces, Staubgold, and Monika Enterprise.

Guffond's work moves fluidly between the concert hall and the public realm, treating listening itself as an active, political act. Her sonic interventions often engage with the invisible infrastructures that shape contemporary life — from data networks and surveillance systems to the algorithmic gaze that increasingly governs urban space. Whether presented as live performance, installation, or recorded release, her pieces invite audiences to slow down and attend to the acoustic textures of their surroundings, revealing the ways technology mediates perception and memory. This sustained attention to the social and technological dimensions of sound positions her practice within a broader conversation about art, power, and the politics of attention in a media-saturated era.

Based in Berlin, Guffond continues to develop a body of work that spans experimental composition, field recording, and collaborative projects. Her discography reflects a restless curiosity, moving across drones, incidental sound, and intricate electronic textures while maintaining a consistent concern with the human experience of listening. Recent presentations and festival appearances have extended her reach internationally, bringing her investigations of surveillance acoustics and sonic memory to new audiences. Through interviews, radio broadcasts, and in-depth features, she has articulated a clear artistic vision: that attentive listening can be a form of resistance, a way of reconnecting with the social and political fabric of everyday life.