Mariam Gviniashvili is an Oslo-based electroacoustic composer and visual artist originally from Georgia. Her compositional focus is on exploring the role of spatiality in music. Her artistic practise also extends to audiovisual works in which she explores the relationships between 3D sound and moving image. She collaborates with performers and creates music for dance and theatre.
Gviniashvili completed her master studies in electronic music composition and electronic music media at the Norwegian Academy of Music, Liszt Academy of Music and Tbilisi State Conservatory, and her bachelor’s degree in instrumental composition at Tbilisi State Conservatory. Her composition teachers were Prof. Natasha Barrett and Andrea Szigetvari. Gviniashvili’s works have been presented internationally at concerts and festivals including the New-York Electroacoustic Music Festival (USA), BEAST FEaST (UK), the Transitions concert series at CCRMA (USA), ICMC (Korea), Cube Fest (USA), Mixtur Festival (Spain), ARD Hoerspieltage (Germany), Ars Electronica (Austria), Klingt Gut (Germany), MA / IN (Italy) and Ultima Oslo Contemporary Music Festival (Norway) among others.
Mariam Gviniashvili is part of this years Heroines of Sound Festival at Radialsystem / 7-9.7.2022
1. I spent most of my time answering this questionnaire trying to think of three interesting facts, but I did not succeed.
1. What is the biggest inspiration for your music?
Well, there are so many things that come to mind right now, but works of art, regardless of genre or age, are a constant source of inspiration for me.
2. How and when did you get into making music?
I grew up in a family where everyone could sing and play the piano, which was the only form of entertainment in Georgia in the 90s. So music was part of my life from a very young age. I don’t remember exactly when I started making music, but I do remember one of my first piano pieces, which I proudly performed every time I was asked to do so. That was when I was about 15.
3. What are 5 of your favourite albums of all time?
There are too many to name just a few
4. What do you associate with Berlin?
Diversity, vibrant culture and dynamic nightlife
5. What’s your favourite place in your town?
My tiny little balcony, which I painted and redesigned myself a few weeks ago. It is the perfect place for a morning coffee.
6. If there was no music in the world, what would you do instead?
One thing I really annoyed my parents with as a kid was taking apart appliances at home so they could not be put back together. I was just always curious about what was inside those devices, and I still am. So if there was no music, I would be a mechanical engineer.
7. What was the last record/music you bought?
Sværm by Mads Kjeldgaard
8. Who would you most like to collaborate with?
I have always been fascinated by contemporary dance. Recently, I worked on a project where I recorded motion capture data of dance that I used as a source for my visuals. This project inspired me to collaborate with a dance ensemble that I can work with in a live setting. Hopefully that will be sometime in 2024.
9. What was your best gig (as performer or spectator)?
Any gig where I get sincerely good feedback from the audience is best gig
10. How important is technology to your creative process?
My creative process will never produce a result without technology.
11. Please tell us, what the audience can expect from your piece you present at this years Heroines of Sound festival.
“Chaos and Awe” is an audiovisual piece that addresses the conflict between our inner and outer worlds. How we are in a constant battle with the chaos around us that throws us out of our inner balance. I think many in the audience will be able to relate to it and hopefully enjoy it.
The piece was commissioned by the Heroines of Sound Festival and supported by the Norwegian Arts Council.