artist
Freya Zinovieff & Amanda Gutiérrez
Canada/UK & Mexico
Amanda Gutiérrez explores the experience of political listening and gender studies by bringing into focus soundwalking and radio practices. She/them is currently elaborating on the academic dimension of her work as a Ph.D. candidate in Arts and Humanities at Concordia University. Their sound artwork has been exhibited internationally in venues such as The Liverpool Biennale in 2012, Harvestworks in NYC, SBC Gallery, Undefined Radio in Montreal, Errant Bodies Studio Press in Berlin, POP Montreal, City of Women Festival and To)POT festival in Ljubljana, ENSEMS Music Festival in Valencia, Sur Aural in Bolivia and Tsonami Sound Festival in Chile.
amandagutierrez.net
criticalmediartstudio.com
Freya Zinovieff is an interdisciplinary scholar, sound artist and curator. Her work examines the intersections of sound, culture, and violence, and how decolonial and anti-imperial approaches might foster disruption for the purposes of justice and community building. Freya holds a PhD from Simon Fraser University, an MFA from The University of New South Wales and a First-Class Honours degree from Cambridge School of Art at Anglia Ruskin University.
freyazinovieff.com
criticalmediartstudio.com
chaotic-rhythms.ca
radicalpraxislab.com
Freya Zinovieff & Amanda Gutiérrez
Deep Time and Crude Resonance, 2025
Radio sound installation consisting of two USB integrated radios
Live sound performance using FM transmissions and hydrophonic sounds processed through modular synthesis.
Deep Time and Crude Resonance weaves a layered sonic narrative linking the oil fields of Texas and Mexico with the coasts of Norway. Through two carefully composed sound works, Amanda Gutiérrez and Freya Zinovieff interlace field recordings of active oil pumps, family histories shaped by the Mexican National Oil Company (PEMEX), and a child’s wonderment at oil’s political and geological magnitude. Presented on two radios, these intergenerational reflections become a palimpsest of inherited experiences and emergent questions. Visitors are invited to hold the radios close, merging personal space with global resource politics. A live performance in Moss Church further expands this resonant tapestry with 3D sound design, hydrophone inputs, and FM radio transmissions, immersing audiences in the shifting textures of extractive geographies. Within Between / Worlds: Resonant Ecologies, the piece highlights how oil’s far-reaching entanglements form a liminal zone—spanning deep time and immediate lived realities—reorienting worlds horizontally in an ever-evolving process of transition.
