Judith Hamann is a composer/performer born in Narrm/Melbourne, and currently based in Berlin. Described as an “extraordinary Australian cellist” (the Guardian), and as a composer who “destroys the fiction of the musician who lives and works outside conventional parameters and puts in its place a series of compositions that are fundamentally humane” (WIRE), their work encompasses performance, electro-acoustic composition, site specific generative work, and micro-tonal systems in a process based creative practice.

In recent research, Hamann examines the acts of shaking and humming as formal and intimate encounters; interrogates ‘collapse’ as a generative imaginary surface; and considers the ‘de-mastering’ of bodies, both human and non-human, in settler-colonial heritage instrumental practice and pedagogy.

Judith has performed widely with festivals including Tectonics (Glasgow, Athens etc.), UnSound (NYC), Sonic Acts (Amsterdam), Maerzmusik (Berlin), CTM (Berlin), the Venice Biennale Musica (Venice), Tokyo Experimental Festival (Tokyo), and AURAL (Mexico City). Judith enjoys thinking and working with other artists which includes people like Marja Ahti, Joshua Bonnetta, Pascale Criton, Charles Curtis, Sarah Hennies, Yvette Janine Jackson, and Anike Joyce Sadiq. Judith’s work has previously been published by labels including Blank Forms, Black Truffle, Another Timbre, and Longform Editions. Judith holds a Doctor of Musical Arts from UC San Diego.