Based in Oslo (Norway), Mariam Gviniashvili works as a sound artist and composer — combining electronics, electroacoustics and 3D sound technology with dance and live performance to penetrate deep into the physical and emotional essence of sound and space.

Music has followed Gviniashvili through her life since early childhood. Growing up in eastern Georgia, she sang and played piano, and gradually found her feet as a creative composer and visual artist while studying composition in Tbilisi.

That explains her diverse and unexpected subject matter — distractions during online meetings, as in her piece Daydreaming (2022), or the strange cosmic ballet of the audiovisual Revelation (2021). The stereo/ambisonic Deconstruction (2020) — Honorable Mention at Prix Arts Electronica 2021 — reflected virus spreading patterns.

Through other works dealing with the Syrian war, a globally-sourced collection of songs and prayers, and a river soundscape in the middle of Oslo, she has engaged her curiosity about the world.

Festivals all over the world have presented Gviniashvili’s music such as: New York City Electroacoustic Music Festival (NYCEMF, USA), BEAST FEaST (UK), Transitions (CCRMA, USA), ICMC 2018 (Korea), Mixtur Festival (Spain), ARD Hörspieltage (Germany), Ars Electronica (Austria), Klingt Gut (Germany), Heroines of Sound (Germany), and Ultima Festival (Norway).

The music website Boomkat described a live performance in which she “conducts anxious clouds of feedback and cybernetic sound design into febrile textures that sound as if they’re teeming with life… it’s surreal and lively, pointing towards new horizons.”

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