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The Core (Khrystyna Kirik × Mark Bain)

2025, live sound and vibration performance, subwoofer and ultra-subwoofer systems, architecture used as a resonant structure, seismic data from Ukraine (2022–2025) — recordings of missile strikes and explosions in Kharkiv and Kherson, the destruction of the Kakhovka dam, earthquakes, and continuous seismic activity — converted into audible sound and low-frequency vibration.

The performance translates seismic traces of war into a physically felt sonic experience, moving from audible sound toward bodily vibration.

State of Latitude (Khrystyna Kirik × u2203 studio (Myk Rudik, Alen Has) x Anna Kuzemko)

2024, four-part audiovisual installation built from field data, archival photographs, and ecological records; sound combining a traditional Ukrainian steppe song (Hilka collective, 1996) with electronic and environmental sounds. four natural territories in Ukraine affected by the full-scale invasion — Sviati Hory, Syvash, Velykyi Chapelskyi Pid, and Kamianska Sich — documented through ecological research and interviews with a biologist; each chapter addresses a specific landscape, its ecosystems, and the damage caused by military activity.

A four-part audiovisual installation that documents specific Ukrainian natural territories transformed by war — treating them not as symbols, but as concrete places with their own ecological processes and limits of survival.

Sub-sur-face

2024, AV installation, 3D scanning used as the primary visual method, dissolving anatomical form into fluid, porous digital textures, digitized human body — skin, internal resonances, and spatial thresholds — explored through posthuman discourse on vulnerability and identity.

An audiovisual installation that reimagines the human figure as a living digital topography, using 3D scanning to construct sonic and visual cartographies of the body's surface and interior.

Tree 

2024, interactive sound sculpture; found materials — metal, plastic, glass, foam, moss, bullet casings, and light; accompanied by a live performance. objects carrying traces of violence and survival — shattered glass, bullet casings, crumpled plastic, moss and flowers — assembled into a hybrid form that holds damage and growth simultaneously.

An interactive sound sculpture built from found and war-marked materials that embodies coexistence of destruction and life, exploring liminal emotional states and resilience rooted in fragility rather than wholeness.

Sonic Climates (Khrystyna Kirik × Elod Máté Janky x Peter Teller)

2024, sound installation with live electroacoustic improvisation; electrical micro-variations from living plant tissues captured and translated into parameters for sound synthesis; florariums as central physical element. plants as active biological agents — their responses to humidity, temperature and human proximity generate a continuously evolving soundscape, into which the performers respond through improvisation.

An installation in which plants' bioelectrical signals drive a living soundscape, and human performers practice attentive listening and mutual adaptation within a shared more-than-human ecology.

Cube (Khrystyna Kirik × Nick Acorn)

2023, interactive sensor-based sound installation and performance platform; permeable architectural structure with embedded proximity and motion sensors; four-channel spatial sound system with probabilistic real-time mappings, visitors' bodies, gestures and movement as the generative material — translated into an evolving spatial soundscape where textures, grains, and trajectories shift with each interaction.

A permeable, sensor-driven architectural structure that turns collective bodily presence and movement into a shared spatial sound instrument, where agency is distributed between visitors, materials and the system itself.

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khrystynakirik@gmail.com

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