Dissonant Counterpoint, 2017
9-Channel Sound Installation

Kunstverein Leipzig (DE)

Two Movements: Three Songs for Soprano and Clarinet (Beyer, 1938) + The Spheres (Policarpo, 2017)
Electroacoustic composition for 4 multi-channels
Duration:  21''20 (loop)
Composition:  Johanna Beyer, Diana Policarpo
Bass Clarinet: Emmy Beber
Mixing + Mastering: Brendan Feeney

Three Songs for Soprano and Clarinet 
I. Total Eclipse
II. To Be
III. Universal-Local
Duration: 8''10 (loop)
LED Board (Poems)

From Leipzig to the Bronx (Letters), 2017 + Status Quo/Music of the Spheres' Opera Typescript, 1938
Sound Sculptures (5x) for 5 multi-channels
Applied Materials: plexiglass,cable,speakers,wire;
Dimensions: 50 x 50 x 82 cm
Duration: 12''54 (loop)
Spoken Word: Emmy Beber

Curated by Anna Jehle and Juliane Schickedanz

Publication by Gloria Glitzä (Edition of 250)
Photograph© 2017 Casper Saenger

Publication available upon request.

Photograph© 2017 Goinha

Sonic Cleansing Ritual (2017) w/ Marina Elderton
+ Reading of Baubo (2017)

Mixed Media
Dimensions variable
Duration: 20 min.

The Fiction of the Fix,  July 2017
Curated by Brenda Guesnet
Courtesy of Tenderpixel Gallery, London (UK)
Photography by Manuela Barczewski and Catinca Malaimare

more info here 

(...) As loving subjects, we tell ourselves sacrificial stories all the time: we are nowhere gathered together (3), and scramble to make sense of subtle gestures, decipher what’s behind late night text messages, and decode the rhythms of affection. The methods are diverse: find a fictional character that’s going through exactly the same thing, sing along to the pop song that just gets you, or carefully study astrological compatibility charts. When it comes to attracting the object of desire, we attempt to conjure our own magic: wear perfume, keep little secrets, create an air of mystery. These words and gestures are borrowed, as we have been repeating the same myths for centuries. And yet, they feel unique, giving us the precise affirmation we need for our solitary devotion. Like a pharmakon, these carefully measured rituals offer the momentary fix of being in control, while simultaneously exposing our fundamental dependence on such supplements.
‘The fiction of the fix’ brings together artists that share a concern with the rituals of the everyday, and how language, voice, and myth can become physical in their potency to attract. The works unabashedly devote themselves to a cause we can’t quite put our fingers on, allowing us to project our own obsessions. As they straddle the common and the supernatural, we are invited to give into superstition, exaggeration, and the cliché: discover the antidote in your own kitchen, and break the curse with your own two hands. 

Diana Policarpo

Panacea, 2017

6-Channel Sound Installation

Applied materials:
Speakers, sub-woofer, audio cable

Duration: 10'32 (loop)

Morphogenesis,  June 2017
Curated by João Laia
Courtesy of Galeria Francisco Fino, Lisbon (PT)

more info here

We are experiencing a critical period of change. Below the surface, tectonic forces have intensified unforeseeably, questioning previously stable contours of reality. Life is being defined by a sweeping notion of crisis which underlines the multilayered social embeddedness of ecology, economy, politics, representation and science. We are left to inhabit an interstice of fluid boundaries and to witness the friction of opposing movements and different perceptions of space and time; a transitional moment of hybrid conditions and arrangements in which new entities are taking shape. The word morphogenesis describes the development process of an organism’s form. It is a concept originally found in biology which here signals the current moment of transition. 
This exhibition focuses on ideas such as transformation and difference, analysing the present and speculating about the future by looking at how change is affecting our notion of what life is and what it might become. The selection of artists included analyses how affect, capital, images, language, objects and systems are being constituted and transformed while circulating. Their combined investigations create a polyphonic map embracing the complexities and paradoxes of our current condition. J.L

Visions of Excess (Grotto), 2017

4- Channel Sound Installation

Applied materials:
Speakers, sensors, light, audio cable
10'15 (loop)
Dimensions Variable.

Laura, February 2017
Curated by Sophia Hewson
Courtesy of Mars Gallery, Melbourne (AT)

Sun in Cancer, 2016

9-Channel Audio Installation

Applied materials:
Sound speakers, equalizers, audio cable.
Duration: 23'53'' (loop)
Percussion, synthetizer, pedals and electronic generators: Diana Policarpo
Theremin: Hannah Catherine Jones
Voice: Diana Policarpo / Hannah Catherine Jones and 
Composition for The Spheres: Diana Policarpo

Sound-Sculptures (bean bags), 2016

Applied materials:
Fabric, sound speakers, polysterene, mp3 players, pre-amplifiers and audio cable.
102 x 88 x 117 cm (hxbxl)

Spoken word: Charlotte Puder (German version) and Diana Policarpo (English version)
1- C. P - Johanna Beyer, Total Eclipse (1934) and Universal-Local (1934), 3' (loop)
2- C. P - Johanna Beyer, Status Quo/Music of the Spheres Prelude + Act I (1938), 2':34'' (loop)
3- C. P - Johanna Beyer, Letters to Henry Cowell (August, 1936), 1' (loop)
4- D. P - Johanna Beyer, Total Eclipse (1934), Universal-Local (1934), Status Quo/ Music of the Spheres Prelude + Act I (1938), Letters to Henry Cowell (August 1936), 7' 3'' (loop)

Visual Scores (Steel Sculptures), 2016

Applied materials:
Steel, acrylic and graphite.


Screen 1- 200 x 135 x 60 cm (hxbxl)
Screen 2- 200 x 135 x 60 cm (hxbxl)
Screen 3- 200 x 135 x 60 cm (hxbxl)
Untitled I - 180 x 95 x 60 cm (hxbxl)
Untitled II - 200x 50.5 x 51 cm (hxbxl)

Site-Specific Light Environment
Applied materials:
Blue foil.
Dimensions variable.

Sun in Cancer, September 2016
Curated by Anna Jehle and Juliane Schickedanz
Photography by Lucie Marsmann

more info here - lAB - Artists Unlimited, Bielefeld (DE)

Sun in Cancer is a site-specific installation comprised of sound, light and mixed media sculptures. It is constituted by sex audio channels, sound-sculptures, tridimensional visual scores casted in steel and the total transformation of the glass surface of the space. This project is an evocation of the work of Johanna Magdalena Beyer (1888- 1944).  Reaching into the past and drawing connections to present-day existence, Sun in Cancer creates a counter-hegemonic genealogy of ways of being-in-the-world and is an homage to Beyer's revolutionary (and lost) political opera Status Quo (1938).

When the artist and the content of the work is lost for more than 70 years, things get hard to put together. Bringing herstories from the past also embrace the deviations that are structurally necessary to the development of modernity and future. We live in the "day of ghosts", forced to mime our emotions, now cheap commodities, while still digesting the lost identities through history we continue to fight the death by repeating the words of the dead. 
(...) The constellation of elements in the show are supporting the theoretical material surrounding their production- the research in Beyer's archive along with the attempt of reconstruct the original score which only few minutes were put together of music and text - in a way they are designed to frustrate the very attempt to prescribe revolutionary conditions. The question of representation and the way which stereotypes have inscribed themselves into the Western visual vocalbulary challenges the audience to reflect on their own perception an cultural identity (...) Ranciere's emancipated spectator certainly need foreign aid from those bodies that were culturally rejected, but this would takes in a different channel. D.P

Visions of Excess, 2015

multi-channel and mixed media installation
sound speakers, amplifiers, cables, cardboard, chalk, wood and mix media
Dimensions variable
Duration: 10:40 min

wood, amplifier, sound speakers, soundscape and spoken word 
Duration: 15:25min
Dimensions variable

℗ Courtesy of the Artist
Xero, Kline and Coma, London

In Visions of Excess, Diana Policarpo pairs George Bataille's work on 'general economy' The Accursed Share (1946-49) with Silvia Federici's Caliban and the Witch (2004) where she analyses the history of women's oppression and the body in the transition to capitalism, investigating the rationalisation of social reproduction.
This work is driven by a soundscape and voiceover that evokes and reflects how bodies can be transformed in a register of experience but also limited in both space and time.

Performance by Cabiria
for Visions of Excess' Private View, July 2015
Duration: 40min.
To listen to an excerpt click here

Photography © Pil and Galia Kollectiv

more information here

flyer by João Machado/Diana Policarpo
Does Not Equal @ W139, Amsterdam (Mar/Apr 2015)

Some of us believe in the struggle for liberation, if not in liberation itself. Perhaps equality is an impossible future and maybe we need a different game? What if we don’t want to 'lean in'? The time for infighting is through. We’re living in the apocalypse, in some messianic times, maybe its now that feminism can do some damage again?  

Does Not Equal is a group exhibition that questions the creative potential, historical legacy and ongoing concerns of feminism. Featuring more than 35 international artists, writers and curators the project presents various and conflicting responses that interrogate issues of gender equality and female subjectivity, including queerness in China, the politics of healthcare, and the dynamics of intimacy in public baths. Familiar characters such as the witch or medieval woman are inhabited. Elsewhere the history of colonial extraction and its commodification of bodies is explored whilst other works present archival investigations into radical political groups such as White Lightning.

In the wake of recent media attention, celebrity endorsement and cultural appropriation and recuperation, feminism no longer seems to be a dangerous word. If hashtags such as ‘YesAllWomen’ work to find some kind of universal solidarity Does Not Equal attempts to acknowledge the reality of difference and the struggle inherent in finding what’s shared. In adopting a discursive curatorial approach, and informed by a series of reading groups, the exhibition presents a programme of live performance, symposium and film screenings accompanied by a collective study room and series of radio podcasts.

*detail from installation

Diana Policarpo
March for Persephone, 2015

Sound installation with 4 channels, composition for percussion, 9:00min.
applied materials: sound, speakers, cables, light, pomegranate seeds

March for Persephone is a one woman percussive ensemble inspired by Johanna M. Beyer's poems and scores/drawings for Music of the Spheres (1938) as part of her unfinished polical stage work
Status Quo.

audio excerpt available here

The Feminist Rock Salt

*detail of platforms and video with Lynda Benglis (1977, Art Walker Center)
  video 2:30min, monitor, headphones, sound

Diana Policarpo & Deniz Unal

The Feminist Rock Salt (to Lynda Benglis), 2015

mixed media installation and platform/stage for performance events
wood, chicken wire, fabric, plaster, metallic paint,neon lights, speakers, amplifier and tv screen.

variable dimensions
W139, Amsterdam


*detail (cave) inside: playlist with tracks from different feminist artists (2.1 speakers) and neon lights 

Rock Sea Rider, 2015
26.03.2015 - Performance

* Performance stills

Part I - soundscape and text (10:30min)
Part II - Something Came Over Me (P- Orridge Cover) (4:15min)

applied materials: voice, mp3, mixed media, microphone, speakers, pedal

Red Light Radio,  27.03.15
part of Does Not Equal @W139, Amsterdam

 Under the Influence Podcast with Diana Policarpo and Naomi Pearce

 FOAM at AN/DOR and Wysing Arts Center Archive

Installation view at AND/OR, London 
Curated by Mat Jenner
Photography by Tom Carter

One off 12'' vlack dub plate record. Artist label on A and B sides. Presented within black inner and outer sleeves. Displayed and accessed within a record archive. Comissioned by Gareth Bell-Jones.

Side A: Erzulie, (10:00), 2014

Side B: Darkness provides a better source of illumination, (05:55), 2014

For further details about the Foam project, the on-going programme and works in the archive:

Kunsthalle Baden-Baden, Beating Back Darkness, 2014

Beating Back Darkness, 2014
multi-channel sound installation, vessels and acoustic panels

Applied materials: wood, chalk, cables, amplifier, voice, sensor, speakers and mix media.
Dimensions variable

Spoken word duration: 10:15min
Soundscape duration (total): 15min.

Courtesy of Dietrich Brants and Staatliche Kunsthalle Baden-Baden

Curated by Luisa Heese
Photography Michael Belogour

For her exhibition at 45cbm, Policarpo will present a new multi­-channel sound piece, accompanied by earthen plaster assemblages of objects and detritus (found on site) that operate both as speakers and vessels, what she refers to as drunk sirens. The space becomes a stage upon which a scene unravels; a disembodied voice jostles to be heard over a litany of visual and aural noise.

Luisa Heese

25 / 03 / 2014

LISTENING SEMINAR 4: Sound Works by Women Artists 


The MA in Aural and Visual Cultures Presents:
Listening Seminar 4 – Sound Works by Women Artists
Tuesday, 25th March 2014  8-10PM

This seminar will present new audio pieces by a selection of women artists. It features the work of Adrianna Palazzolo, Cara Tolmie, Diana Policarpo, Hannah Catherine Jones, Jenna Bliss, Jenna Collins, Marina Elderton and Nicola Woodham.

Each of these artists investigate different aspects of sound, in relation to space, atmosphere and the presence or absence of the image. Through a variety of approaches, these works explore notions of multi-vocality, using rhythm, time, formal and informal speech, narrative and noise, both as material and inspiration.

The works have been compiled back-to-back on a playlist, to prioritise collective listening, over discussion. I hope this event, which is married to space and corporeality, will allow us to question the various ways we experience the sonic world.

Diana Policarpo
March, 2014

Part I

1. Jenna Bliss
“Lincoln Detox”, 2014
14:14 min, stereo sound

2. Adrianna Palazzolo
“18.03.14_Mario”, 2014
05:05 min, stereo sound

3. Nicola Woodham
“Humwhammy/Voice Changer”, 2014
08:29 min, stereo sound

4. Cara Tolmie
“PIT”, 2014
07:36 min, stereo sound

Part II

5. Hannah Catherine Jones
“Aria (for our ears)”, 2014
09:00 min, stereo sound

6. Jenna Collins
“Deaf Captain Accident”, 2014
05:52 min, stereo sound
Music by Tim Parkinson.
Extract from TRIO (2007) played by Angharad Davies, Tim Parkinson and Stefan Thut and extract from Viola Piece (2003) played by Julia Eckhardt.

7. Marina Elderton
“C’est Celestial I”, 2014
05:06 min, stereo sound

8. Diana Policarpo
“Part A – Erzulie”, 2014
13:45 min, stereo sound
Based on an excerpt from “The Divine Horsemen” (1956), by Maya Deren.