Diogo Alvim

Composer, Sound Artist
Portugal °1979
research interests: Music, architecture, moving image, sound art
affiliation: CESEM - NOVA FCSH
en

Diogo Alvim works between music and sound arts, exploring their interactions with architecture, specific contexts, and other arts. He is interested in expanding the practice of sound composition as a research and transformation device.
He studied architecture and composition in Lisbon. In 2016 he finished a PhD in Composition/ Sonic Arts at the Sonic Arts Research Centre in Belfast, focused on the relations between music and architecture.
He currently teaches Sound Arts at ESAD Caldas da Rainha, and is an integrated researcher at CESEM, FCSH – NOVA.
He regularly collaborates with visual and sound artists, choreographers and theatre directors, in productions as diverse as installations, video, dance, performance, performative walks, and other hybrids.
His work has been presented in several events, of which: Museu as Performance 2023, Serralves (Canção Nova, with André Guedes); Festival Temps d’Images 2023 (with Joana Braga); Festival Musica Viva 2023; Arquitectura dos sons  (Gulbenkian Foundation 2023); Danças na Cidade – RTP/ CNB (2022 for a piece by Tânia Carvalho); Lisboa Soa Festival (with Matilde Meireles, 2020);  National Dance Company, with the Portuguese Symphony Orchestra (Music for S, by Tânia Carvalho, 2018); Festival Musica Viva 2018; Chantiers d’Europe – Theatre de la Ville (artist in residence at the Cité Internationale des Arts, Paris, 2018); CNEAI, Pantin, France (for a piece by Ramiro Guerreiro, 2017); Do Liminar#6 (Zaratan Gallery, Lisbon, 2016); Sonorities Festival (with the Royal String Quartet, 2015); Belfast Festival (with Matilde Meireles, 2014); Sounding Cities – Invisible Places (Viseu, 2014), Ibrasotope#60 and MAC-USP (São Paulo, Brazil, 2014); Notation in Contemporary Music Conference at Goldsmiths University (London, 2013); ICMC2012 (with Unlikely Places, Ljubljana); ISMIR 2012 (Porto); Festival Synthèse 2009 (Bourges); Festival Música Portuguesa Hoje (Orchestrutopica, 2008); Gulbenkian Orchestra’s composers’ workshop (2008 and 2009).

diogoalvim.com

research

research expositions

  • Territórios Expansivos / Expansive Territories (2023) author(s): Diogo Alvim, Matilde Meireles, teresa luzio, Michael Schwab, Sara Morais, Joana Braga published in: Research Catalogue
    Territórios Expansivos é o tema subjacente a um programa de atividades de investigação artística desenvolvido pela OSSO – Associação Cultural, e coordenado por Diogo Alvim e Matilde Meireles desde janeiro de 2020. O programa culmina nesta publicação, um pequeno projecto editorial que procura estabelecer relações entre diferentes perspectivas e modos de operação em investigação artística, bem como entre diferentes instituições. Nela participam quatro artistas que foram convidados para desenvolver ensaios à volta deste tema. A publicação foi acolhida em parceria editorial pela Cátedra UNESCO em Gestão das Artes e da Cultura, Cidades e Criatividade do Instituto Politécnico de Leiria. Expansive Territories is the theme underlying a program of artistic research activities developed by OSSO – Associação Cultural, and coordinated by Diogo Alvim and Matilde Meireles since January 2020. The program culminates in this publication, a small editorial project that seeks to establish relationships between different perspectives and modes of operation in artistic research, as well as between different institutions. Four artists were invited to develop essays around this theme. The publication was hosted as an editorial partnership by the UNESCO Chair in Arts and Culture Management, Cities and Creativity, Polytechnic Institute of Leiria.
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research expositions (collaborated)

  • Trigger Place - A Game of Sound and Architecture (2017) author(s): Matilde Meireles, Diogo Alvim published in: Journal for Artistic Research
    "Play" was a project developed by Matilde Meireles and Diogo Alvim with the participation of experimental filmmaker Richard O'Sullivan. This multilayered performance was specially conceived for the annex of the Physical Education Centre at Queen's University Belfast, a building composed of several squash courts and an audience area. The project encompassed live music (a brass ensemble), electronics, video projections, and a live squash game, all affecting the perception of the site. This building became the main character of an immersive acoustic experience, where a game of squash was the starting point to explore ideas about architecture and place through sound. The squash courts were subject to acoustic processes extrapolated from two of Alvin Lucier's most important works—"Vespers" and "I am sitting in room". Also the floor markings were manipulated, as a reference to Edward Krasinski's obsession with a never-ending line. These extended beyond the performance space to reveal unexpected connections.
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