"Since 1992, eRikm has extended the field of artistic experimentation on the international scene.

Maintaining a constant fusion between thought, instinct and sensitivity, he pursues a simultaneity of practices and addresses the interplay between various compositional modes, relating to and using all languages.

From his early experience as a guitarist through to his later visual work, he is a maverick genre-bender who breaks down anyone's attempts to conveniently classify him.

Quickly recognised as a virtuoso turntablist and sound artist (1996), eRikm has made a longlife habit of crossing all territories and " world-systems " deemed "independent", "institutional".

At the same time (1997), he has developed an open and aspirational approach toward the technological media, both as a means of development for a new economic model and as an instrument for creation, production and diffusion.

He deals with sounds like living organisms, constantly in flux, always open to the risk of accident or delight/unisson. As he plays with all these contradictions in his improvisations, his performance reaches new heights of intensity, trading off both understanding and sensation, seriousness and farce, anticipation and instinct.

His work references both the intimate and political, both popular and high culture, but without demonstration. Rather he creates a short-circuit connection between points with his live generated (and degenerated) material - from noise to reference - presenting multiple ways to capture each moment of the present in clear focus.

Throughout his career, collaborations have naturally occurred with his audiences and contemporaries, most notably : Luc Ferrari, Christian Marclay, Mathilde Monnier, Jerome Noetinger, FM Einheit... The kind of coincidences which have confirmed his instinctive search for transmutation, and to play on several levels.

Since 1997, on his own or with collaborators, eRikm has toured (with 5-7 on-tour projects to date), or created by request specific pieces, both transversal or for fixed spaces (record labels, radio, festivals, art centres...)

In the meanwhile, each time building on what has emerged before, the most personal fragments from his work (notably from his early artworks in photography, drawings, visual installations and video) continue to substantiate a singular kaleidoscopic vision.

Ultimately, eRikm's research resonates through all of his work, bordering scientific discovery and a poetic curiosity of the world.

eRikm is a Marseille based artist"

"Catherine Jauniaux is a Belgian avant-garde singer. She has been described as a "one-woman-orchestra", a "human sampler", and "one of the best kept secrets in the world of improvised music". Her solo album, Fluvial (1983) is regarded as one of her most accomplished works. She was married to the late American experimental cellist and composer Tom Cora.

Catherine Jauniaux began her career as an actress in Belgium at the age of 15. During the late 1970s and early 1980s, she sang with several experimental rock groups, including Aksak Maboul and The Work. In 1983 she teamed up with The Work's Tim Hodgkinson (ex-Henry Cow) in London to record her first solo album, Fluvial. Jauniaux and Hodgkinson wrote most of the tracks for the album, which are "imagined folk songs" that include elements of "contemporary art song, African singing, Native American legends, and alien nursery rhymes". The album centres on Jauniaux's voice with additional instrumentation by Hodgkinson, Bill Gilonis (The Work), Lindsay Cooper (ex-Henry Cow) and Georgie Born (ex-Henry Cow). AllMusic rated the album as "highly recommended, especially to fans of unusual female vocal art."

In the early 1990s, Jauniaux moved to New York City, where she became part of the Downtown music scene, performing with a number of musicians, including Fred Frith, Tom Cora, Marc Ribot, Zeena Parkins, Butch Morris and Ikue Mori. Jauniaux founded the duo Vibraslaps with Ikue Mori and later married Tom Cora. In 1995 Jauniaux and Cora moved to Southern France where she continued performing with various European musicians, including Louis Sclavis, Heiner Goebbels, Otomo Yoshihide and Christian Marclay. Cora died in 1998.

Jauniaux works regularly with artists in the field of dance and film, and sang in Heiner Goebbels's opera, Roemische Hunde in Frankfurt in 1991. She is inspired by traditional music, both real and imagined, and her performances mix seriousness and humour. She explores sound, emotion, melody and abstraction, and her vocal improvisations range from "traditional French chansons to breathy folk to Dadaistic glossolalia"."