In the tension between jazz, experimental music, and the avant-garde, the boundaries between emotion and sound blur. The music emerges without fixed structures, driven by spontaneity, risk-taking, and mutual listening. Each concert is a unique experience—an open process that unfolds in the exchange between musicians and the exhibited works of art.

Here, personal touch, sounds, and artistic intuition come together to create something completely new.

This season, the concerts range from expressive and explosive to quiet and delicate. Music becomes a medium for direct emotional expression—and a resonant space for the interactions between artists and audience.

The setting is deliberately minimalist: no stage, no light show, instead, close proximity, concentrated presence, and a space where sound can breathe. This creates an intimate atmosphere where music is not just heard, but experienced.

Sound Window doesn't offer a safe framework, but rather an open window to new listening experiences. And perhaps also inspiration that lingers beyond the moment.

In his solo project, he plays prepared electric guitar, bass drum, cowbell, effects pedals, and laptop—all simultaneously with his hands and feet—developing a technique that generates multiple voices in real time, guided by rhythmic instinct and the materiality of sound. His approach is characterized by a corporeal-intuitive relationship between gesture, sound, and repetition. Preparing the guitar with a variety of objects to explore different sound worlds has been a hallmark of his work since his beginnings. Noise, Latin American rhythms, and free improvisation merge into a deeply corporeal, non-representational, and sound-oriented practice. Through expanded playing techniques, digital tools, and an embodied sense of pulse, Espinal develops a personal sonic language that challenges conventional notions of instrument, style, or genre. His music has been released on labels in Argentina, Peru, Switzerland, and the USA, and he has presented it at numerous international festivals and stages.

jorgeespinal.bandcamp.com

Since moving to Berlin in 2012, he has become a prominent voice in the city's real-time music scene and the international avant-garde community.

Gordoa's projects include solo and ensemble performances, sound installations, and compositions for film, theater, and dance. He has collaborated with artists such as Jérôme Noetinger, Yuko Kaseki, John Butcher, Ingrid Schomliner, and Sabine Vogel.

He has performed at festivals such as the Moers Festival, Meakusma (Belgium), A'larme!, and Maerzmusik (Berlin). He is the founder of WildSonico, a platform for experimental music, and has held residencies at the Academy of Arts and the Kunststiftung NRW. In 2020, he was Improviser in Residence at the Moers Festival.

His discography includes Substantial Myths (2022), GRIFF (2021), and Balderi Variations (2019). Gordoa's work has been supported by institutions such as the Goethe-Institut, the Musikfonds eV, and INM – initiative neue musik berlin. He has been awarded an honorary distinction at the Prix Ars Electronica.

emiliogordoa.com

The eclectic nature of his work led to the release of his debut solo album, Never is Always, which features both music for extended solo trumpet and experimental songs. With Berlin-based multidisciplinary performer and dancer Kelvin Kilonzo, he founded the project SUM, which is both a performance duo and a platform for film and media art collaborations. 

Together with media artist Maurits Boettger, they created the film Dyschronia, which premiered at the Julia Stoschek Foundation Berlin in 2023.

 Gīw founded the ecstatic noise quartet Stellar Banger with musicians Abed Kobeissy, Ali Hout, and Joss Turnbull, releasing the album Data is on Ruptured Records, Beirut, in 2021. With renowned New York cellist and improviser Mariel Roberts, Gīw released the improvisational duo album Kryo in 2023. Other improvisational collaborations include musicians such as Belgian bassist Farida Amadou, singer Laura Totenhagen, violinist Biliana Voutchkova, pianist Philip Zoubek, poet Fiston Mwanza Mujila, and the project Granular Epic with Berlin-based trumpeter Brad Henkel. At the Burgtheater Vienna and the Schauspiel Köln, Gīw has created and performed the music for the productions of King Lear and The Grapes of Wrath. Pablo Gīw was a winner of the NICA artist support program of the state of NRW, Germany, between 2019 and 2023.

giwmusic.com

Within a few years, she developed a unique language, open to microtonality and contemporary techniques. Far from narrative effects, her playing resembles electronic music. She approaches sound as a malleable material, rich in concrete textures, uniting breath, silence, and immersive sounds. She plays with the effects of compression and expansion of sound and enjoys exploring the limits of sound, searching for electrical pressure, saturation, acoustic distortion, and feedback.

In concert, Christine Abdelnour, thanks to her highly focused listening style, instinctively and with immediate availability, creates an intimate yet communal space. The inner and outer merge, revealing an altered reality through sounds and their shifts. The result is music of great intensity that questions the concept of form, rhythm, texture, balance, harmony, and energy.

Christine has released over fifteen CDs and collaborated with various artists in the visual arts, dance, theater, and poetry. For several years, Christine Abdelnour has been sharing her knowledge and insights in private or group masterclasses, ranging from technical details of specific sound production to methods for applying this sound palette in a musical context. 

christineabdelnoursehnaoui.jimdofree.com

From summer 2020, she continued her MA in Specialized Music Performance | Concentration in New Music, also at the HKB with Teodoro Anzellotti. She is a prizewinner of the Friedl Wald Foundation and the Meggen Foundation for Young Music Talents. Tizia Zimmermann plays in various ensembles with a focus on contemporary music, free improvisation, and experimental (noise) music and was a member of the board of WIM Zurich (Workshop for Improvised Music). Her work on Hans Zender's "Winterreise" under the direction of Emilio Pomàrico at the Zurich Opera House was formative for her.

Pham has studied the special sounds and advanced playing techniques of Đàn bầu, a traditional Vietnamese instrument, and incorporated it into free improvisation and composition. Since 2023, she has been teaching Đàn bầat the University of Music and Theatre Hamburg. Her artistic journey is a search for individuality and, at the same time, for connection with the wider social environment.

"Experimentation allows me to push the boundaries of what music can be and create a dynamic, constantly evolving artistic practice," explains Pham. This approach drives her to continually innovate and explore new sonic landscapes.

Since 2025, she has been chairwoman of Hörbar eV, where she works with a dedicated team to realize concerts for experimental music in Hamburg. Her works have been presented at festivals in Vietnam, Germany, Japan, Thailand, Indonesia, Hungary, France, and Serbia—a testament to the international resonance and relevance of her innovative compositions.

tamthipham.com

His debut album, Monu, was named "Debut of the Year" by the New York City Jazz Record; he received awards for unique and creative playing at the International Society of Bassists Festival. His most recent album, Storm Dance (Not Two Records), featuring Joëlle Léandre, was praised by Mark Dresser as "powerful, significant, and worth repeating."

He has performed with musicians such as Joëlle Léandre, Barre Phillips, Tony Buck, Maria Portugal, John Edwards, and many others, at festivals and stages such as The Kitchen (NYC), Jazzfest Berlin, Saalfelden Jazz Festival, Porgy & Bess (Vienna), and more. In addition to his international concert activities, Vinicius teaches double bass and advanced playing techniques in the master's program at the Hamburg University of Music and Dance.

www.vinicajado.com

His solo project and collaborations, such as ENGELTHOMSEN, Lucatelli/Engel/Mahnig, and the quartet "Our Hearts As Thieves," reflect his desire to expand the boundaries of traditional musical forms, whether in acoustic or electronic sound creation. As a member of the Cologne-based Impakt collective, Jonas initiates concert series (APPLAUS Award 2023) and festivals dedicated to experimental and improvised music.

In his solo project, Jonas Engel, influenced by electronic sound, explores the creation of acoustic noise music and the diverse sounds of wind and reed instruments. His sound production is based on the development of his own advanced playing technique and the preparation of his instruments. He explores the possibilities of complex textures using air, harmonics, saliva, and microtones to transport the sounds that arise within his body to the outside. To create sound, he uses reeds that end in tubes, such as PVC hoses, saxophones, or an ABS plastic trumpet, which in turn end in objects and sometimes even effects pedals. He has released numerous albums as a bandleader and co-leader and has received numerous awards for his innovative work, including grants from the DAAD, the Idella Foundation, the Music Fund, the Becket Foundation, the Kunststiftung NRW, and many more.

jonasengel.com