R E I . Z E N
S E L E C T E D
P R O J E C T S
Snezhana Reizen p o r t f o l i o
a series of spoken-word works, which is concerned with a
broad spectrum of topics around language, estrangement and otherness, seeking to re-examine the very essence of some core concepts that shape the contemporary subject at both individual and collective levels: from the identity policy and post-colonial studies to language as technology that forms our culture and ideology, the quest of this work is driven by the search for new perspectives and meanings.
The project features poems recorded by artists with different languages and backgrounds, accompanied with electroacoustic devices or processed acousmatically.
AngelNetz (meaning “fishing net” from German), is an audio-visual performance by Zero Night (Snezhana Reizen & Mike Iv) navigating the domain of alterity through the lens of speculative angelism*, understood as a heretical tool to introduce foreignness into the systems dominated by power struggles and capital.
The set unfolds through the pressure and stress, bringing into play magnetic fields, radio waves, electrical discharges, feedback and objects, and opening onto an anisotropic terrain of interrelations.
an audiovisual project by intermedia artists Snezhana Reizen and Mike Iv, working in the fields of generative visuals and experimental electronic music.
Inheriting a counting system of “Arabian Nights,” Zero Night would be that of an untold story. Zero as one ahistorical, a parallel landscape, or “x,” escaping grids and mappings.
The project dwells upon the ideas of cosmological chaos, the formation of the possible, and the transformation of the “real”, focusing on morphogenesis of audio-visual signals and elements.
“U” is an acousmatic multichannel performance coiling with and around streams of feedback, both technically and conceptually. As a system that never resolves into a finished state, the feedback loop presents a framework through which reality itself may be seen as an open ontogenetic process.
The title of this inquiry comes from an iconic U-shaped diagram, created by Wheeler to inscribe his provocative idea of the procedural and always becoming Participatory Universe as a self-synthesising system, which actualises itself on the fly in a closed loop through the eyes (and the ears, I believe) of observers.
“The Universe is a self-excited circuit”, as he famously noted.
Suffering is a mirror held out by an angel—one must know how to read it, then.
Vincent La Soudière
The idea is a monad—that means briefly: every idea contains the image of the world.
Walter Benjamin
the play of mourning
OUT in December 2026
Drawing on Walter Benjamin's conceptual and poetic framework, this audio-visual album is particularly concerned with the force that fuels history on multiple levels: from the socio-political to the cosmological, considered across science, philosophy, and mythology. Started as a response to the Russian aggression against Ukraine in the darkness of 2022, the album unfolds around an affective electricity of the war machine by channeling tension and rupture through sonically manifested electric forces.
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an electroacoustic piece drawing on Gilles Deleuze's eponymous essay and springing solely from raw vibrations appearing between disconnected or partly unplugged wires. Created through multiple improvisational sessions and acousmatic procedures, applied specifically to voltage fluctuations, Desert Island constructs a dynamic topology that resists rigid formal constraints - a mysterious flow of pure becoming. Animated by constant subtle shifts of time, frequency, and resonance, it articulates the movement as such, forming miniature anarchic constellations of thought.
Named after the Greek ἔρημος — wilderness, desert — Eremos presents a constellation of independent multimedia experiments that give voice to the crises of our time, posing questions through the evocative image of the desert and employing cosmological, mythological, and ecological perspectives.
Silent Thoughts
Silent Thoughts is an interactive performance and exhibition installation designed as an interactive installation responding to the 2022 Russian invasion of Ukraine. It deeply reflected the emotional trauma, pain, and psychological state of recent expatriates and refugees who had just relocated to Israel. Billed as a "room of horrors turned into everyday life", visitors went through 30-minute individual sessions that combined physical art installations, video materials, and immersive spatial audio.
There's no freedom – only the process of becoming free.
A piece recorded during a performance at the Oooh Festival of Improvisation, Ragusa, 2022.
Three women from Iran, Israel, and Ukraine descend into the dark waters of unconscious materials, where war, repression, and inherited memory continue to reverberate. What unfolds is the whispering scream of the thunderous silence, a sonic passage through somatic residue, between tenderness and violence, intimacy and collective trauma.
The multimedia interactive performance “Class Fatigue” explores such a symptom of modern society as fatigue.
Following the French philosopher Jean Baudrillard, we see fatigue as a hidden form of protest against the existing social order with its focus on success and productivity, and alienation of individuals bereft of choice.
Technically, the work was built with the open-source electronic prototyping platform Arduino, four video projections revealing the topic of material fatigue from a scientific perspective—diagrams, graphs, images of fractures and cracks, gallium metal pulsing like a human heart—and a spatial four-channel audio installation with the pre-recorded soundscape and sounds, produced by participants during their communication with our mechanisms.
a duo of sonar adventurers, “sounders of the depths”, dancing on the borders of discovered and imagined. In their improvisational sessions, they mingle together experimental electroacoustics with postindustrial, jazz with ambient, noise with voice, sob with splash, sonically embodying elements and phenomena from the natural world - all forms of void and matter. Rooted in poetic sensibility and blending a sense of wonder with scientific curiosity and philosophical depth, their sessions reveal hidden facets of life, inviting listeners to encounter profound truth or potency within fantasy (and vice versa). Through sound, they approach collective trauma, uncertainty, fear, grief, and hope in a unique unconventional manner, allowing these experiences to emerge as mutable, embodied, and shared.
an intermedia beat-disoriented project by sound artists Snezhana Reizen and Michał Krajczok featuring a visual by Mike Iv. The project explores phenomena of affects and affective involvement through various media in improvisational sessions.
Treating affects as movements of autonomic pre-subjective intensities that bring differences even in untimely events or categories such as atmosphere (affect is what the atmosphere provides) we attempt to create a dynamic "cartography of affects" with diverted images and disruptive pulses. Within this project, we elaborate on immeasurable beats and instability patterns, seeking abstract possibilities of/for each (next) moment.
Antenna is a series of works on transduction with the sole sound source taking place - radio waves. Here I was devoured (engulfed) by discontinuity and discharge inherent to the "miracle of the wireless. the omnipresence.. the overleaping of frontiers” - the radio, like it was marked by R. Arnheim.
A spontaneous live radio-noise set recorded close to the closed bomb shelter. Commissioned by Radio Concrete at British Extra Resonance.
PAIN.T
PAIN.T is a theatrical performance that draws on the Dark Night of the Soul, the crisis and rupture within the psyche and expanding subconscious flows through the framework of a cathartic artistic experience.
a beat - disoriented project by sound artist Snezhana Reizen on the verge of the alternative club scene.
Combining analogue signals and digital synthesis, shifting temporal grids and algorithmic schemes Rzeng deals with different kinds of turbulence, tensions, complexities and dilemmas in the field of human experience in relations to non-human.
Music to a multimedia installation by Lia Schell and Anton Kraftsky that contemplates posthuman relationships and extraterrestrial dimensions of the language.
r - selection is an multimedia installation by Ilya Davidov and Snezhana Reizen that speculates on the r/K selection theory as a simplified model of population dynamics. The project is executed by employing media art, recycle, graffiti, spatial and sound design, combining news programs on a TV-set, glass, mirror glass, acrylic, mixed-media technique.
Music for film by Karina Baratova, which recreates, within her film, a setting of an Iranian beach. The word “Zolf”, translated from Farsi, means "lock of hair". It is also the title of the hidden protest song by Mohsen Namjoo, Iran's Dylan on the lute, based on the 14th-century poem by the Persian poet Hafez of Shiraz.
Music for a film by Karina Baratova, which refers to the book “The Woods (Hyle)” by the philosopher Vladimir Bibikhin, in which he describes the forest as a living substance and the person in it. Bibikhin argues that although most of human society no longer lives in forests or close to them, our existence is still profoundly linked to them.
I was passing thirteens
Music for an animation by visual artist Nadia Dikun, unfolding the poem of the same title by the famous Ukrainian poet Taras Shevchenko. The poem addresses his most sacred and intimate memories from childhood and the first love, free of possession, the bliss he felt as if in God’s hands, and despair about the world full of wars and oppression that ruined this bliss and left him homeless.
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Please note, these are selected, not all the works.
An enormous amount of gigs, performances, collaborations and installations were not mentioned.
To be continued
“Liberty is becoming”
François Laruelle