Jessika Khazrik (b. 1991, Beirut, based between Beirut and Berlin) is an artist, technologist, elec-
tronic music producer and writer whose indisciplinary practice ranges from composition to machine

learning, ecotoxicology, cryptography, performance, visual art and history of science. Khazrik holds

BAs in Linguistics and Theatre from the Lebanese University and a MS in Art, Culture and Tech-
nology from MIT where she was awarded the Ada Lovelace prize. In 2012-13, she was a fellow at

Home Workspace Program in Ashkal Alwan, in 2018-19, a fellow at the Digital Earth and in 2020,
guest faculty at HfK Bremen and the editor of the International Solidarity Page at the 17teshreen/
October17 monthly publication.
While concurrently working as technologist and technology advisor in different collective, indecent

and institutional settings, her work has been presented at The Normandy Landfill, raves, the Stan-
ford Research Institute, CTM Festival, the Arab Image Foundation, Kunsthalle Wien, Les Urbaines,

the Museum of Modern Art Warsaw, Times Museum Guangzhou, LUMA Foundation, Haus der
Kulturen der Welt, her house, the internet and Theater der Welt, among others. Her essays and short stories have been published in Bidayat Journal, Zweikommasieben, Kohl Journal, The Funambulist, Almodon and Ibraaz to name a few. Besides her solo practice, Khazrik composes the soundtrack of the Geocinema film project, often collaborates with artists and labels on album art and text and DJs under different names. She is currently a SHAPE PLATFORM artist fellow for 2021-22 and a 2021-22 Principal Investigator at the ‘Research on the Arts Programme’ by AFAC & ACSS.

Scavenging sounds from online and on-site detritus, trans-millennial compendia of healing, and mili-tarised ads and technologies, Jessika Khazrik’s sonic scapes intimately investigate the ecological and techno-political premises of the economies we inhabit or forget. Often born out of vocoded collabora-tions with multi-modal neural networks skewed with incomputable Arabic rhythms, Khazrik festive-ly uses spaces of congregation to search for locally entrenched universalisms that could collectively respond to the dystopias of our times. Khazrik’s indisciplinary practice as artist, writer, technologist, producer and DJ ranges from composition to machine learning, performance, visual art, ecotoxicol-ogy and history of science and music.

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