About

Born in 1981, Johann Merrich is an Italian electronic musician and freelance composer active since 2000.

She started her sound researches by using her loyal Yamaha AN200 with the electro-noise duo Hm? formed togheter with Genecyst (2000 – 2006). Thanks to Hm? performances, she begins to develop her idea of experimental music.

In 2008 she releases her first solo album USSR VS Paradise (in six movements) for the Italian netlabel VUOTO. One year after, she releases Fricadelique! How to be a flower-power nihilist distributed by the Russian netlabel Clinical Archives.

In 2010 she cofunded electronicgirls.org and performed to shows during the 54th Biennale d’Arte di Venezia (Ooslo Floating Pavilion, San Servolo island; Illuminations Closure Party, Giardini della Biennale, Serra dei Giardini).

In 2012 she dive into the land of electro-clash and punk sounds with 7 Tone-Floats for a Selfdestruction released by electronicgirls.

Passionate connoisseur of electronic music history, in 2012 she publishes her first book on women in electronic sounds: Le Pioniere della Musica Elettronica (Auditorium Edizioni, Milano). Together with Ilaria Pasqualetto, Giacomo Trevisan and Chironomia she makes the theatre show Annusavamo fiori di fibra ottica tracing a short history of women who pioneerd in the field of electronics.

In the same year, she starts to write articles on electronic music for Insould.

Thanks to the meeting with the performers duo Andrigo&Aliprandi (2012) she become involved in the production of music for contemporary dance (Libere di Ricominciare, 2014; Le Bistrot des Dames, 2015; choreogrphed by Marianna Andrigo. Effetto Cocktail Party, 2016 – 2017 choreographed by Sara Catellani) and for vertical dance (Cubo, produced by Eventi Verticali, 2015; Sostanza d’Ombra, produced by Vertical Waves Project, 2015).

With Andrigo&Aliprandi she founds Live Arts Cultures (2014) and she’s now curator of the musical project of the cultural association placed in Forte Marghera, Venice.

She constantly deepens her knowledge following seminars lead by artists such as Theo Teardo (Fondazione Cini, Venice 2014), Pauline Oliveros (Conservatorio Benedetto Marcello, Venice 2015), Markus Stockhausen (Forte Marghera, Venice 2016), Jasna Velickovic (Forte Marghera, Venice 2017).

Her interests in orchestral music and sound experimentation move her to write verbal and graphical scores; Golden Min., the Fantastic and irrational Number preformed by 21 is the first glimpse of that mood.

Soon after, she become involved in the principles of Stockhausen’s Intuitive Music; by following that methodology, she writes scores for the ensemble The Expanding Universe of Al-Joberal Chirolechi (The Expanding Metal Casting, Labyrinth, Intuitive Music N°1, Ananke – Music for the Fates) playing around France, Italy, Bosnia and Croatia with her colleagues.

Her music has been required from several artists coming from different fields, such as: Sissa Micheli (photographer; trailer’s soundtrack for Knödelperformance, Stadtmuseum, Brunek 2012); Beniko Tanaka (Shadow-theatre performer and director; Claralua premiered at the Marionette Museum, Lisbon 2015; Moraes-San e o Culto do Chà, Porto 2017); Gabriela Stoica (visual artist; sound installation during the exhibition Mirror Mirror, who I amMeru Gallery, Iasi, Romania); Corinne Mazzoli (artist; sound installation for her Sala Gioccchi Project, Venice 2013).

Merrich is an active researcher on the effort of women in electronic music history; she loves to spread the knowledge on experimental music and to engage new audiences throughout workshops, lectures, listening sessions and dj-sets.

She is interested in raising public awareness on environmental issues by using electronic music; for this reason  in 2015 she started an ongoing series of soundworks called Geography of human violence. The first sound installation, Dall’orlo il ghiaccio fece crich più forte, was made of a single audio track composed with the sounds of some geophones installed by Aquased, a hydrometric station at Ponte Stelvio tha allows monitoring alpine streams to understand the effects of climate change. The second step of “Geography of human violence” has been called Mechanical Vibrations, a contemporary requiem for the city of Venice.

Her latest release, A bigger splash into the unknown, came out on March 2016 released by electronicgirls.org.

Her latest work for electronic orchestra and dance, Silver River, has been premiered at S.a.L.E. Docks, Venice, in January 2016.

Her latest performance for chorus and electronics, Mechanical Vibrations, has been premiered at the Venice International Performance Art Week in December 2016.

In summer 2017 she has been among the artists invited to work at Studio Venezia, 57 Venice Biennale, art installation by Xavier Veilhan at the French Pavilion.

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