Joanna Bailie’s recent work includes chamber music and installation, and is characterized by the use of manipulated field recordings and other sound media together with acoustic instruments. She is also interested in the interplay between the audio and visual as evidenced by her works incorporating camera obscura, and film.

Malin Bång’s music is an exploration of movement and energy. She defines her musical material according to their amount of friction to create a spectrum of unpredictable and contrasting actions, ranging from the intimate and barely audible to the harsh and obstinate. In her work she often incorporates acoustic objects to explore a rich sound world and to suggest that a musical content can be shaped by anything valuable to the artistic purpose.

Michael Beil’s work focuses on the combination of electronic music, instrumental music and video. His compositions are based on concepts concerning the situation on stage in a concert in connection with the development process of musical works. Therefore the instrumentalists are mostly involved in the compositional process and their participation is documented to be part of a composition.

Alexander Chernyshkov experiments actively in building unique new instruments of strictly acoustical and mechanical origin using long tubes to transform the wind instruments or using motors, relays and electromagnets as vibrating sources.

Christine Cornwell (UK/US) is a composer, performer and producer based in Rotterdam with strong links to free improvisation, collective practice, and facilitation of interactive, multi-disciplinary work. Christine has a Masters in Classical Composition from Codarts University of the Arts, and a Bachelor in Music Performance (violin) from Royal Birmingham Conservatoire. She is currently studying an MA Arts and Cultural Entrerprise at Central St Martins, University of London.

Louis works across the mediums of writing, live performance and installation, seeking to speculatively (re)imagine pasts, presents and futures of musical production and reception. His work is characterised by stream-of-consciousness descriptions of recorded sound; pseudo-intellectual ramblings underpinned by hobbling instrumental pulses; speakers talking to floors; transcendental climaxes squeezed through MIDI timbres; paranoid associations between musical details and religious hegemonies; decadent rituals pairing Wagnerian harmony with fine cheese.

Natacha Diels’ work combines choreographed movement, improvisation, video, instrumental practice, and cynical play to create worlds of curiosity and unease.

Vladimir Gorlinsky is a composer, an improviser, an author of spatial compositions and sound installations.

Rama Gottfried's recent works aim to increase our sensitivity to the web of relations that connect humans and the other animate and inanimate entities that surround us. His pieces are conceived as scenographic worlds — bodies with voices that move and interact in physical and immaterial environments, constructed from the medias of acoustic and electronic instrumental performance, puppet-, object-, material-theater, live-cinema, and the site-specific performance context. Brought to life through the collaborative actions of human and nonhuman performers, the works attempt to absorb the audience and physical space, subtly expanding our awareness of detail.

Born in Bruges (1983), Daan Janssens studied composition at the Ghent Conservatory with Frank Nuyts, Godfried-Willem Raes and Filip Rathé. Daan Janssens collaborated with both Belgian and international ensembles and soloist. Since October 2016, he teaches composition and orchestration at the Royal Conservatory Ghent.

Pierre JODLOWSKI is a composer, performer and multimedia artist. His music, often marked by a high density, is at the crossroads of acoustic and electric sound and is characterized by dramatic and political anchor. His work as a composer led him to perform in France and abroad in most places dedicated to contemporary music aswell as others artistic fields, dance, theater, visual arts, electronic music. His work unfolds today in many areas : films, interactive installations, staging. He is defining his music as an (active process' on the physicall level [musical gestures, energy and space] and on the psychological level [relation to memory and visual dimension of sound]. He also performs on various scenes (experimental, jazz, electronic), solo or with other artists. He is co-artistic director of the éOle studio in Toulouse and Artistic Director of Musica Electronica Nova Festival in Wroclaw, Poland. He is currently associated composer for the Composition Cursus at IRCAM

Simon Løffler’s works range from very intimate set-ups to egnimatic constructions, embracing traditional instruments (transformed in various ways) as well as novel instrumental concepts.

Working with instruments, objects, preparations, applications, oscillating systems and motors. Exploring longitudinal wave phenomens on nylon strings, undertones on string instruments, friction on different structured surfaces, activation of instruments and objects by mechanical and sonic motors, the plastic materials for constructing new resonance spaces and developing analog vocoder for wind instruments and the voice.

Jessie Marino's work explores the repetition inside common activities, ritualistic absurdities, and uncovering nostalgic technologies. Jessie’s pieces score out sound, video, physical movements, lighting, and staging, which are then placed within organized temporal structures, fractured narratives and musical frameworks. Much of Marino’s interdisciplinary compositional work eschews conventional instrumentation, with scores that ask performers to use their bodies—using precisely articulated gestures, facial expressions, and quotidian physical movements—both as an alternative and a complement to musical sounds.

Adriana Minu (UK/RO) is an intense vocal performer, a sound performance maker, a fierce collaborator. For the past four years she’s been working full time on her practice based PhD in experimental composition, investigating how to increase trust and safety around processes of making that allow fuller participation and expression. She sometimes teaches at University of Glasgow and runs relational sounding workshops for musicians and somatic practitioners. For the past year she’s been a visiting researcher at Concordia University in Montreal.

Sonja Mutić is a composer, performer and PhD candidate at Harvard University. She works with sounds at thresholds of silence, harmony and noise, using minimal means to create textures of maximal expressive weight. She is interested in slowness, artistic self-exposure and vulnerability.

John Pax' music draws from the landscapes, seasons, plants, and animals of the bush where he grew up, and often yearns for a mythology or poetics of this experience.

Composer and sound artist based in Kracow (P). His artistic activity combines instrumental and electronic music elements as well as multimedia and performance. Peszat participated in workshops and festivals where his compositions were presented: Lucerne Festival, Ung Nordisk Musik Festival, Darmstadt Ferienkurse Für Neue Musik, and Ultraschall Festival. He collaborated with a.o. Musik Fabrik, Klangforum Wien, Scenatet Ensemble, and Ensemble Modern. Peszat graduated with a distinction from the Music Academy in Cracow after composition studies with Krzysztof Meyer (2009-2014) and master studies at The Royal Academy of Music in Aarhus in Simon Steen-Andersen’s and Niels Rønsholdt’s class (2013-13). Peszat holds a Doctor of Musical Arts degree from the Academy of Music in Kracow (2018). He received habilitation in 2022. In addition to autonomous activities, he creates music for theatre and films. He is an assistant at the Studio of Electroacoustic Music at the Academy of Music in Krakow.

Marina Poleukhina’s musical focus lies in composition and improvisation on various objects and the instability of sound; silence and silence as the sound; real life and real life as sound. amongst others she is inspired by ligeti, nono, feldman, waits, yoshihide, and hosseini.

"In his compositional work Prins seeks to critique received convention, to break the framework of the usual, and dispose of aesthetic axioms. He envisions a musical art form beyond the safe confines of the »scene«, wherein the connection to the larger cultural discourse has gotten lost. A central pre-condition for the making of a new music with a future is the role of the aware, critical observer, one who is prepared to exploit the technologies and mechanisms of the prefabricated media with a view to their possibilities for new music. – Stefan Prins lives up to this calling." (Michael Rebhahn, 2012) Besides his activities as a composer, improviser (live-electronics) and teacher (Professor of composition & director of the Hybrid Music Lab at the Hochschule für Musik Dresden), Stefan Prins is also one of Nadar’s two artistic directors.

Eva Reiter studied recorder and viola da gamba at the University of Music and Performing Arts in Vienna, graduating with honours in May 2001. From 2001 to 2005 she continued her recorder studies with Paul Leenhouts and Walter van Hauwe and her viol studies with Mieneke van der Velden at the Sweelinck Conservatory in Amsterdam, Netherlands. She earned her bachelor’s degree in recorder in 2004 and in viola da gamba in 2005 (both with honours). Focussing on composition, Eva Reiter earned her master’s degrees “cum laude” in both instruments in 2006. Since then Eva Reiter has been working as a freelance musician, composer, and lecturer in Vienna and is regularly invited by various festivals and schools to teach classes on Early Music.

Jorge Sánchez-Chiong was born in Caracas and since the 1980s has been living as a freelance artist in Vienna. His work as a composer and performer focuses on process-based, close collaborative cooperation with artists from experimental fields of theater, dance, performance art, film, video art, and multimedia. Under the name JSX he produces and works as a DJ, plays as an electronic music performer and turntablist with musicians of the international noise and improvisation scene.

Schubert’s interest explores cross-genre interfaces between acoustic and electronic music. The most characteristic feature of his work is the combination of different musical styles (like hardcore, free jazz, popular electronic music, techno) with contemporary classical concepts. He incorporates these influences based on his personal experience rather than theoretically approaching the topic. Schubert has participated in his youth and early career in all above-mentioned genres both in groups and as a solo artist.

Schüttler's aesthetic focus is on the recontextualization of social, mediatic, performative, spatial, biographical, political and physical conditions of music. In his compositional practice, he deliberately relies on disparate sonorities, structural imbalances and sonic diversity – often interspersed with pop culture references.

With a background in Jazz and Improvised music - performer, composer and creative technologist Craig Scott (b.1987,Scotland) creates sound works for human and non-human performers. Using handmade analogue hardware, robotics, modified obsolete audio technology and improvising human musicians to explore the disquieting tension that exists between human and machine made music.

Golnaz Shariatzadeh is a composer, improviser, and visual artist. She creates sonic spaces inspired by visual forms. Her music explores the unfamiliar territories of sound, and her art is heavily influenced by film. She is currently a doctoral candidate in composition at Harvard University studying with Chaya Czernowin and Hans Tutschku.

Kelley Sheehan (1989) is a composer and computer musician moving between electro-acoustic, electronic, and performance art works. In any medium, her work constructs environments meant to merge electronic and acoustic forces into one composite organism, dependent on this merging to become more than just an extension of itself.

Remi Siu wants to examine the role of human labour, skills, and decision making as the world shifts to automation, and is governed by algorithmic processes of our own creation.

Steen-Andersen’s works live in the passages between the simple and the complex – in a field in which orchestral music, video art, choreography, performance, music theatre and installation are mixed with sampling, pop-culture references and game-aesthetics in surprising and thought provoking ways. His works therefore present a pronounced expansion of music, where no material is too fine or too simple to be given careful attention, taken apart, and assembled anew.

Lisa likes to work with motorised instruments of her own creation in her music. She is fascinated by the de-subjectivization of sound, which for her becomes universal, speaking of and for everyone. She is also interested in the incongruent contrasts that can arise on both visual and auditory levels at the same time.

Cathy van Eck (1979 Belgium/Netherlands) is a composer, sound artist, and researcher in the arts. She focuses on composing relationships between everyday objects, human performers, and sound. Her artistic work includes performances with live-electronics and installations with everyday objects. She is interested in setting her movements, actions and gestures into relationships with a rich palette of different sounds, exploring peculiar sonic sceneries. The result could be called “performative sound art”, since it combines elements from performance art, electronic music, and visual arts.

Annelies Van Parys (°1975) is one of Belgium’s leading composers. She writes solo and chamber music works as well as large orchestral compositions with a great preference for music theatre. Since 2007, she is a resident composer of Muziektheater Transparant. Annelies Van Parys is currently professor of composition at the Brussels Royal Conservatory.

"The Irish composer Jennifer Walshe nails down, better than any artist I know, the antic, raucous, confessional, sordid, semi-sublime texture of modern digitized life. At the age of forty-six, she has established herself not only as a composer but also as an electrifying vocalist, a sly comedian and storyteller, a fertile maker of videos and visual art. Yet she comes across less as an all-knowing mastermind than as a free-spirited instigator of happenings that threaten to spiral out of control." Alex Ross (The New Yorker)

Mátyás Wettl is Hungarian. Male. He studied in Budapest and Amsterdam. He is interested in making music, first names, and syrup. Not cars. That’s all we need to know. “I hate talking about myself or my music.”

Julio a composer of contemporary music working with acoustic instruments, analog and digital electronics, and field recordings.