"Isidora's work is based on the investigation of sound, starting with the acoustic cello, and developing through amplification, and more recently into analogue synthesizers, vocals and texts. This may be thought of as a geography full of fissures and hidden retreats. The friction, the pressure, the harmonics, the blows, the intervention with objects in the strings, a search for melodies and tones, transform the cello into a poetic body that looks for a story in sound. Her interests are focused on searching in the spectrum of improvised music, in the fields of dance, movement, human voice and its philosophical relations with space, text, time and audience.

She has been part of ensembles such as Ensamble Taller de Música Contemporánea U.C and the Goethe Institut Project "Ensemble Nuevo" and participated in festivals worldwide such as Ars Nova Festival, Ravensburg; Ende Tymes Festival of Noise, New York; Mopomoso Concert Series, Iklectik Ballistik, London; Dara String Festival, Suture Soven, Berlin, and collaborated with improvisers and ensembles in Chile and overseas, such as London Experimental Ensemble.

She has composed music for the dance and theater works "Paisajes" by choreographer Paula Sacur, "Un uno de a dos", by choreographer Teresa Prieto. At present, she is working on experimental songs, combining the use of the cello with the voice, text, and analogue electronics.

Isidora is currently a PhD researcher at Goldsmiths, University of London.

She holds a MMus in Creative Practice from Goldsmiths, and is a graduate in Music Performance from the P. Universidad Católica de Chile."

"Biliana Voutchkova is a dedicated, thoroughly engaged composer-performer whose work combines regular performances of major solo violin/ensemble works and new works by contemporary composers often written for her, improvisation and performance work reaching into the realm of dance and movement. Her constant research as a creative artist spans the widest possible range of sound and movement and extends her sonic, physical and technical capacities evolving into the development of a highly individual artistic musical language.

Biliana is a risk taker approaching contemporary classical repertoire with the same inspiration and freedom characteristic of her forceful improvisations. She collaborates with an international pool of renowned artists - among those are Mazen Kerbaj, Audrey Chen, Ute Wassermann, Iva Bittová, Robin Hayward, Jacques Demierre, Matthias Bauer, Frances-Marie Uitti, Séverine Ballon, Helmut Lachenmann, Michael Thieke, Hans Peter Kuhn, George Lewis, Georg Nussbaumer, Clayton Thomas, Axel Dörner, Peter Ablinger and many others. ​Biliana has been heard at festivals and concert series worldwide, her appearances ranging from celebrated concert venues such as Carnegie Hall in New York, the Berliner Philharmonie and Radial System V in Berlin, and Suntory Hall in Tokyo, to performances in the most vivid experimental places such as Kule/Labor sonor, Ausland, Quite Cue, Studio 8 and Exploratorium in Berlin, Saal 100 in Amsterdam, and the Knitting Factory in New York. After her 14 years long residence in the USA, Biliana now lives in Berlin and collaborates with the Splitter Orchestra, Solistenensemble Kaleidoskop, Ensemble Modern, Zeitkratzer, Work in Progress, Ensembles United Berlin, Mosaik, LUX:NM and others. She is the co-founder of her dance/music group GRAPESHADE and OSM (open sound & movement collective). Her recent/current projects include solo concerts at the Huddersfield Contemporary Music Festival, MuseRuole Festival, Radar Festval, Radialsystem V and Unerhörte Musik, concert appearance with Iva Bittová and Phil Minton, the solo portrait concert/presentation and the project "Gazes that matter" at Ballhaus Naunynstrasse, the performance of Alban Berg's chamber concerto for the March Music Days Festival, the concert tour in Bulgaria/Serbia with Voutchkova/Thieke duo supported by the Goethe Institut and performances for the festivals Klangwerkstatt, Jazzfest and Faithful in Berlin, Blurred Edges in Hamburg, Rainy Days in Luxemburg and Klarafestival in Brüssel.

Born in the family of musicians, Biliana Voutchkova begins playing violin at the age of four, makes her orchestra debut at the age of nine, and records her first CD for the Japanese label Crown Record Ltd. at the age of sixteen. She studies classical violin, in her college years starts being involved with the contemporary and improvised music scene in New York. Among her teachers are Peter Arnaoudov, Abram Stern and Felix Galimir. Ms. Voutchkova holds degrees from the University of Southern California and New School for Social Research/Mannes College of Music in New York (MM in music). She has received top honors at the Kozian International Music Competition, CRS National Competition for Performing Artists, and Music and the Earth International Contemporary Music Competition. At the age of nineteen, she was invited to the United States, and was presented the special Jasha Heifetz Violin Scholarshipfor for her studies at the University of Southern California. After her move to New York in 1995 her continuous interest and exploration of the music of today remains being a major part of her work. "

"Zosha Warpeha is a composer-performer working in a meditative space at the intersection of contemporary improvisation and folk traditions. Using bowed stringed instruments alongside her own voice, her long-form compositions explore transformations of time and tonality. She performs primarily on Hardanger d'amore, a sympathetic-stringed instrument closely related to the Norwegian Hardanger fiddle. Her current work is informed by the cyclical forms, rhythmic elasticity, and the physical momentum of Nordic folk music.

From Minnesota and currently based in Brooklyn, NY, she is active within folk and improvised music communities in the United States and abroad as a solo artist and collaborator. Notable performances have taken place at the Emanuel Vigeland Museum, Bern Jazz Festival, Drammen Sacred Music Festival, Newport Jazz Festival, Vesterheim Museum, and Detroit Institute of Arts. She was commissioned in 2022 to compose and perform a full-length score for a movement piece by choreographer Erin Landers, titled of body of body of, which premiered at MOtiVE Brooklyn. Recent and ongoing collaborations include projects with percussionist Carlo Costa, ambient winds player Craig Schenker, instrument-builder Webb Crawford, and electro-acoustic ambient duo visible worlds. Warpeha's debut solo album Silver Dawn (Relative Pitch Records, 2024) has been lauded as a "breathtaking dialogue between Warpeha and her instrument; tradition and experimentation; community and place" (I Care if You Listen).

In 2019, Warpeha received the US Fulbright Award for artistic study in Norway. Her Fulbright project and subsequent master's project involved a practice-based study of the Norwegian Hardanger fiddle tradition and the development of a personal approach to solo performance through Nordic folk music and contemporary improvisation. Her work has also been supported by the Jerome Foundation, the Minnesota State Arts Board, and the Minnesota Arts and Cultural Heritage Fund. She holds bachelor's degrees from the New School of Jazz & Contemporary Music and Eugene Lang College in New York City and a master's degree in Nordic folk music performance from the Norwegian Academy of Music in Oslo."