PRESS PICTURES
REVIEWS
“Gviniashvili's command of the elements is remarkable to witness, and despite the piece being relatively slow-moving, it evolves without you even noticing. The Georgian composer conducts anxious clouds of feedback and cybernetic sound design into febrile textures that sound as if they're teeming with life. This ain't the usual dark ambient/electro-acoustic snooze fest, it's surreal and lively, pointing towards new horizons. Recommended.” - Boomkat
“… The two pieces performed on the festival’s second evening, however, prove that it’s something of a blank canvas for an inventive composer. Georgian sound artist and composer Mariam Gviniashvili puts the 16 performers through their paces, creating a staccato work of unrelenting if off-kilter propulsion. Since some of the musicians don’t read the music their bodies become human metronomes, keeping time through the way they lean into each gesture. The electrifying piece conjures an outtake from the Fritz Long film Metropolis, wich the musicians suggesting assembly line labourers, leaning into their task in a way that traces the motion of machines” - The Wire
“… We came out of the bunker hiding quickly, however, when the electroacoustic composer Mariam Gviniashvili sent us towards the stratosphere on the back of a cosmic drone. Subtle modulations nuanced the weightless state. Suddenly, gravity was turned on. The sound plunged in a free frequency drop towards the inevitable meteor impact. The explosion was a low-frequency armageddon, with the sub-bass perforating the body and setting every little nerve cell into oscillations. Unique.” - Seismograf
“Deconstruction is a stereo and multi-channel work composed with COVID-19 data during the first lockdown in the spring of 2020. The resulting sound and images are breathtakingly beautiful, but the reality is that the composition is based on data of transmission route and network of viral infection that has divided our society and humanity. The interaction between the powerful sound and the particle visuals attracts the audience as well as provokes them to think of what was lost. The jury was impressed by Mariam Gviniashvili’s attitude to create and present such a work in the midst of people’s despair in the early stages of the pandemic.” - Prix Ars Electronica jury
“Using a combination of organic and synthetic sounds, Gviniashvili marries the audial and visual together using the same parameters for the sound and the image, creating a synthetic unity where the sound mimics the image in its own form.” - The Quietus
“Georgian-born, Oslo based composer Mariam Gviniashvili, placed stylised human forms into an abstract environment to create an elaborate ballet. Yet while it was more about the subtlety of its sounds and images than aiming for a big impact, if anything that only heightened the effect of its ecstatic climax” - 5:4
“At first, a series of powerful, piercing low-frequency sounds made me feel that the Zdrowie Cinema hall was lowering several levels and its walls were getting thicker, crushing me with their weight. The matter of sound enveloped the gathered audience, creating a mass of vibrating bodies. The sound seemed to come from within the earth, echoing the uneven rhythm of past events.” - Glissando
INTERVIEWS
Klassekampen - Hun tok opp ruinene
3D Sound: Interview with Mariam Gviniashvili - Baltic Immersive Audio Network
FOUR QUESTIONS | LOCATED SOUND - the act and art of listening to located sound