Jessika Khazrik (b. 1991, Beirut, based between Beirut and Berlin) is an artist, technologist, electronic 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 Technology from MIT where she was awarded the Ada Lovelace prize.
Scavenging sounds from online and on-site detritus, trans-millennial compendia of healing, and militarised 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 collaborations with multi-modal neural networks skewed with incomputable Arabic rhythms, Khazrik festively uses spaces of congregation to search for locally entrenched universalisms that could collectively respond to the dystopias of our current times.
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 Stanford 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.