Ioana Vreme Moser (b. 1994) is a Romanian sound artist engaged with hardware electronics, speculative research, and tactile experimentation.
In her practice, she uses rough electronic processes to obtain different materialities of sound. She places electronic components and control voltages in different situations of interaction with her body, organic materials, lost and found items, and environmental stimuli. From these collisions, synthesized sounds emerge to carry personal narrations and observations on the history of electronics, their production chains, wastelands, and entanglements in the natural world.
Amongst others, she has performed and exhibited at the National Gallery of Denmark (DK), singuhr (DE), Klang Moore Schopfe (CH), Fonderie Darling (CA), Akademie der Künste Berlin (DE); Vancouver New Music (CA), Manifesta 14 (XK); SFX - Sound Effects Seoul (KR), Ars Electronica (AT), Bunkier Sztuki Gallery Krakow (PL); Simultan Festival (RO); Eigen+Art Lab - Transmediale, Berlin (DE).
from other pens:
→ Form for Fluid Computer & bio article by Diane Pricop on OBSOLETE
“Ioana Vreme Moser invites us to pause and be aware of the fragility of our existence. She encourages us to listen to and respect our own slow but stable rhythm, like that of a resilient nature.”
→ Alexander Varty's on Screaming Minerals and Circuits, Stir Arts & Culture Vancouver, 2024
''Romanian artist’s instruments are both crude and sculptural, starkly futuristic and whimsically odd.''
→ Interview by Miron Ghiu for Revista Arta: Circuit Board Chic
''The kinds of organic-electronic synesthesia and symbiosis that she creates, challenging her audience through interactive installations or performance pieces, almost always push the boundaries into this “grey” area of audio/video/tactile experimentalism. Having taken part in over 30 exhibitions and festivals over the years, starting with the Simultan festival, which made her famous, Ioana does not make the kind of art that you can’t understand if you don’t read the exhibition text.''
→ Instruments on CDM: Pirouette machines: sound and computation from screw cans and fluidics