Past Highlights

Selected Appearances

Jasmine Guffond's live work has been presented at institutions and festivals including Deutsche Oper, Akademie der Künste, Liquid Architecture Festival, and 48 Stunden Neu Kölln. Her 2014 sonic intervention 15 Minutes of Infinite Time took place during 48 Stunden Neu Kölln in Berlin, and Sonic Portraits was exhibited at the Sound Studies Master Austellung at Kühlhaus, Berlin, in 2015.

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Jasmine Guffond's performance practice sits at the intersection of sound art and social inquiry, where each live event becomes a site of attentive listening. Her work moves through concert halls, galleries, and unconventional spaces alike, always attuned to the technological and political textures embedded in everyday sonic environments. Whether performing solo or in collaboration, she treats the act of listening as a critical gesture, one that surfaces the hidden frequencies of surveillance, architecture, and collective memory. These performances are not simply presentations of composed material but invitations to reconsider how we inhabit and perceive the world through sound.

Collaboration has long been central to Guffond's artistic method, bringing together musicians and sound artists whose practices enrich her own. Through these exchanges, she explores the porous boundaries between composition, improvisation, and field recording. Working with visual artists and electronic musicians alike, she builds layered sonic landscapes that respond to specific places and moments. Each partnership opens new questions about how sound carries meaning, how it shapes social space, and how it might resist or reveal the algorithmic structures that increasingly govern contemporary life. The result is a body of work that remains restless, curious, and deeply engaged with the world beyond the studio.

Her performances often unfold across cities and festivals, from intimate venues to institutional stages, connecting audiences through shared listening experiences. The itinerant nature of this work reflects a broader interest in how sound operates within particular cultural and political contexts. Whether in Germany, Finland, Australia, or elsewhere, each location brings its own acoustic character and social dynamics into the work. Guffond's practice responds to these conditions with a sensitivity that turns the concert itself into a form of research, a way of testing how music can intervene in public life and open spaces for reflection and exchange.

Underpinning this activity is a sustained engagement with the politics of listening in an age of pervasive digital surveillance and algorithmic mediation. Her compositions and performances often draw attention to the ways technology shapes perception, memory, and subjectivity. By foregrounding these concerns through sound, she offers audiences a means of reckoning with the invisible systems that structure everyday experience. This is work that asks us to pay closer attention, to listen more carefully, and to consider what it means to be heard in a world saturated with data, noise, and constant connectivity.