Alex Zhang Hungtai is a multi-disciplinary artist focused on improvisation and its correlation with the unconscious. After retiring his project Dirty Beaches, Zhang has been focusing on explorations of improvised music, free jazz, and his role as a composer. His newer compositions predominantly work with saxophone and drums, delving into electronic music.

Besides his solo work, some past collaborators include : Tashi Dorji, Che Chen, Chris Williams, Sam Shalabi, David Maranha, and Gabriel Ferrandini. Zhang currently works as a composer for film soundtracks, along with acting in independent films.

He has appeared in David Lynch’s Twin Peaks: The Return alongside Dean Hurley and Riley Lynch under the fictitious band Trouble. His latest film score “Godland” by Hlynur Pálmason was in competition at Cannes Film Festival’s Un Certain Regard.

Katya Shirshkova is a France-based performance artist, vocalist, composer, and educator whose practice unfolds across performance, experimental music, and installation. Working with voice, noise, movement, and collective processes, she explores the porous boundaries between language, silence, sense, nonsense, and the non-verbal.

Through performance, composition, and installation, she approaches the voice as both a sonic material and a performative medium, investigating the ways in which sound, language, and the body continuously negotiate meaning. Alongside her artistic practice, she develops workshops centred on collective vocal practices and embodied approaches to sound.

Her work has been presented throughout Europe at venues, festivals, and institutions including Les Instants Chavirés (Paris), KRAAK Festival (Antwerpen), Super Flux Festival (Tours), Périscope (Lyon), Appleton Festival (Lisbon), ENSA Bourges, EESAB, and Musikakademie Rheinsberg (Germany), among many others.

Katya regularly collaborates with artists and musicians including Louis Laurain, Yurii Kuznetsov, Roxanne Métayer, Jérôme Joy and more.

Catharina Evens is an experimental electro-acoustic pianist who seeks to discover an alternative sonic palette for the acoustic piano. She does so by, amongst other things, manipulating acoustic sounds live using electronic equipment, amplifying them and having them resonate through the piano’s entire soundboard and strings.