Chaves/Nakahodo Estrilho  

Estrilho is an audiovisual essay that focuses on our possible sound-life-sound during the pandemic.

Which sound comforted you during this pandemic? Was it recurrent or casual? Did you miss it? Or is it something to come? Was it a voice or voices? A body or bodies? A song or piece of music? Did it have an origin? Was it unknown or familiar? Beautiful or weird? Was it inside, outside or in between? Where was it? Did that sound touch, smell, taste and look at your other senses?

The collection, fragmentation and reading of related statements amplify images and sounds that refer to social isolation, individual/collective memory and the way in which public and/or private spaces in João Pessoa were affected by the pandemic. Estrilho proposes a reflection on the museological role of listening, aural experience and sound recollection to the development of an archive that amplifies the possibility of empathy, hope and shared sensibilities.



Sound artist, performer and researcher. His creative work foregrounds a discussion of presence — both physical and authorial — in the process of making sound art. From 2015 to 2018, he was a postdoctoral researcher at NuSom (University of São Paulo) with a research project focusing on creating an online “archive” of Brazilian sound art. In 2019, he co-edited with Professor Fernando Iazzetta the volume Making it Heard: A History of Brazilian Sound Art (Bloomsbury). He is currently a visiting professor at the Federal University of Paraíba visual arts postgraduate programme (2021 to 2025).


A third generation Brazilian Okinawan artist and musician, whose creative practices foreground sound-based cartographic processes and aural experiences on a daily basis, leading her to work with community, diversity and listening in focus, creating the Curitiba Sound Map online platform (2016) and soundwalk tours. Active collaborator and co-founder of the brazilian pianists collective PianoVero and the experimental music hub Tropelia, her musical path is driven by the multiple possibilities that piano, technology and context offer, such as in the 24 hours non-stop sound installation, Vexations: 840 x Satie (2019) and in the video performances Fraturas Zen and Mare Tranquillitatis (2021).