{"id":21272,"date":"2026-08-10T16:44:15","date_gmt":"2026-08-10T14:44:15","guid":{"rendered":"https:\/\/instytutpolski.pl\/newyork\/?p=21272"},"modified":"2026-08-27T16:41:23","modified_gmt":"2026-08-27T14:41:23","slug":"unsound-new-york-2026","status":"publish","type":"post","link":"https:\/\/instytutpolski.pl\/newyork\/2026\/08\/10\/unsound-new-york-2026\/","title":{"rendered":"Unsound New York 2026"},"content":{"rendered":"\n

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First Artist Announcement<\/strong><\/h2>\n\n\n\n
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Wednesday, October 21, 2026 at 7:30 PM<\/strong>
FUJI|||||||||||TA & Ka Baird \/ Actress \/ Team Rolfes<\/a><\/strong>
Lincoln Center Presents<\/a><\/strong>
Alice Tully Hall<\/a><\/strong>
Lincoln Center for the Performing Arts
<\/strong>1887 Broadway, New York, NY 10023
Choose What You Pay<\/a><\/u><\/strong><\/p>\n\n\n\n

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Thursday, October 22, 2026 at 7:30 PM<\/strong>
claire rousay & Martyna Basta \/ Keith „Giant Claw” Rankin & Julek ploski<\/a><\/strong>
Lincoln Center Presents<\/a><\/strong>
David Rubenstein Atrium<\/a><\/strong><\/strong>
Lincoln Center for the Performing Arts<\/strong>
1941 Broadway at W 65th St, New York, NY 10023
Free<\/a><\/strong><\/p>\n\n\n\n

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Friday, October 23, 2026 at 7:30 PM<\/strong>
Hania Rani presents Non-Fiction, featuring Sinfonia Varsovia \/ Ksi\u0119\u017cyc<\/a><\/strong>
Lincoln Center Presents<\/a><\/strong>
Wu Tsai Theater, David Geffen Hall<\/a><\/strong>
10 Lincoln Center Plaza, New York, NY 10023
Choose What You Pay<\/a><\/u><\/strong>
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Unsound New York 2026<\/strong><\/h2>\n\n\n\n

This October, Unsound returns to New York. Our first artist announcement focuses a three-night residency at Lincoln Center, presenting a series of U.S. premieres, new commissions, and rare performances. Unsound New York<\/strong> is part of the 2026 Soft Power<\/strong> theme, with festivals also taking place in Warsaw-Krak\u00f3w (October 2 – 11)<\/strong>, and London<\/strong> in late November.<\/p>\n\n\n\n

From October 21\u201323, the Lincoln Center program brings together artists working across experimental sound, contemporary composition, audiovisual performance, virtual theater, and orchestral music. Alongside landmark performances from internationally renowned musicians, the residency also highlights new collaborations between Polish and American artists developed through Unsound commissions and residencies.<\/p>\n\n\n\n

Tickets go on sale on September 9<\/strong>, and will be Choose-What-You-Pay<\/strong> as part of the Lincoln Center Presents<\/strong> series.<\/p>\n\n\n\n

The opening night at Alice Tully Hall<\/strong> on October 21 begins with the North American premiere of Where Does Fire End?<\/em>, an Unsound commission by Japanese sound artist FUJI|||||||||||TA<\/strong> and composer-performer Ka Baird<\/strong>, exploring breath, resonance, and voice as physical material. Electronic music pioneer Actress<\/strong> follows with the U.S. premiere of Radical Frame<\/em>, a new audiovisual work reimagining both recent and earlier material with immersive visuals by Filip Popik<\/strong> and lighting by Shaun Murphy<\/strong>. The evening closes with Mustang Speedrun<\/em> from virtual performance studio Team Rolfes<\/strong>, combining VR puppetry, motion capture, live musicians, actors, a motorized racing simulator, and live-edited camerawork into a singular theatrical experience. Musicians to be announced soon.<\/p>\n\n\n\n

The second evening, presented in the Atrium<\/strong> as part of Lincoln Center’s Festival of Firsts<\/strong>, focuses on artistic exchange between Poland and the United States. claire rousay<\/strong> and Krak\u00f3w-based composer Martyna Basta<\/strong> present the U.S. performance debut of hotel room<\/em>, developed after a week spent composing together in rural Poland and accompanied by visuals from Theresa Baumgartner<\/strong>. The program continues with a new audiovisual collaboration between Keith „Giant Claw” Rankin<\/strong> and Warsaw composer Julek ploski<\/strong>, created through an Unsound commission and residency.<\/p>\n\n\n\n

The residency concludes in the David Geffen Hall<\/strong> with two very different perspectives on Polish music. Ksi\u0119\u017cyc<\/strong>, whose singular blend of minimalism and Slavic folk traditions has inspired a devoted following for three decades, marks the 30th anniversary of its landmark debut self-titled album. Following is Polish composer, pianist, and singer Hania Rani<\/strong>, whose work moves effortlessly between classical and experimental music. Rani presents the U.S. premiere of Non-Fiction \u2013 Piano Concerto in Four Movements<\/em> with the 45-piece Sinfonia Varsovia<\/strong>, joined by Valentina Magaletti<\/strong> and Jack Wyllie<\/strong>. Partially inspired by the story of the young piano prodigy Josima Feldschuh, who was forced into the Warsaw Ghetto during World War II, the work reflects on historical trauma through the lens of present-day horrors in Ukraine and Gaza.<\/p>\n\n\n\n

Stay tuned for the next Unsound New York announcement, coming soon, involving a discourse program, a club night jointly presented with Dripping, and more!<\/p>\n\n\n\n

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FUJI||||||||||TA <\/strong>
FUJI||||||||||TA joins composer-performer Ka Baird for the North American premiere of the Unsound commission Where Does Fire End?, which sculpts breath, pressure, and resonance into tactile sound, exploring the voice as tangible artistic material.<\/p>\n\n\n\n

FUJI||||||||||TA is a Japanese sound artist whose work draws on natural phenomena and an interest in hearing unheard sounds and noises. In 2009, Fujita handcrafted an original pipe organ with only 11 pipes and no keyboard. Created without specialized knowledge, the instrument was designed to create a landscape rather than function as a conventional musical instrument.<\/p>\n\n\n\n

Inspired by Japanese gagaku, the instrument\u2019s air pump, called \u201cFUIGO,\u201d is based on an ancient blacksmith\u2019s bellows and is operated with the left hand while playing. Because the instrument is one of a kind, Fujita developed his own technique for playing. The water element (with sound synthesized water tanks) has recently been added to his performance repertoire. The music consists of water sounds from multiple aquariums alongside his pipe organ, and his voice.<\/p>\n\n\n\n

FUJI||||||||||TA photo by @ Olivier Jaquet<\/p>\n\n\n\n

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Ka Baird <\/a><\/strong>
Ka Baird is an American recording artist, multi-instrumentalist, producer, and performer based in New York City. Using extended voice and microphone techniques along with electronics, feedback, field recordings, and flutes, they explore the outer dimensions of sound through performance. They create a present tense sound with a vigorous, ritualistic delivery that seeks extreme release through physical exertion and psychic extension. They have collaborated with many other artists, both in structured compositions and through their dedicated practice of improvisation. <\/p>\n\n\n\n

Known for their raw, boundary-pushing solo performances, Baird explores the physical and expressive possibilities of sound through a practice that moves freely between music, performance, and improvisation.<\/p>\n\n\n\n

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Actress<\/a><\/strong>
Actress will present the U.S. premiere of his new A\/V show, Radical Frame<\/em>, a landmark performance that reshapes and re-engineers material from his new and past output. The immersive visual experience features projected visuals by Polish artist Filip Popik and lighting design by Shaun Murphy.<\/p>\n\n\n\n

Darren J. Cunningham, known professionally as Actress, is a British electronic musician and DJ. Since emerging in 2004 with the eccentric No Tricks<\/em> EP, he has become an influential figure in underground electronic music. Over more than two decades, Cunningham has continually reinvented his sound through enigmatic solo records such as 2024\u2019s Statik<\/em> and collaborations with artists from across the musical spectrum, most recently synth pioneer Suzanne Ciani.<\/p>\n\n\n\n

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Team Rolfes<\/a><\/strong>
Team Rolfes is a realtime performance and image house based in NYC, led by Sam Rolfes and AndyRolfes, that specializes in figurative animation, VR puppetry and mixed-reality collage. The studio’s practice expresses itself across multiple formats and platforms such as livestream improvisational comedy, live motion-capture animation both on large festival stages and in underground rave bunkers. They have also created print design for fashion collections, album covers, and music videos.<\/p>\n\n\n\n

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claire rousay<\/a><\/strong>
The prolific experimental-ambient artist claire rousay spent a week in 2024 composing in a secluded village in the Polish countryside with Krak\u00f3w-based composer and musician Martyna Basta. Their resulting joint show and album, hotel room<\/em>, is a rugged travelogue of loose musical fragments, auto-tuned vocals, and complex atmospheres. The U.S. performance debut of hotel room<\/em> features projected visuals by German artist Theresa Baumgartner.<\/p>\n\n\n\n

Originally trained as a percussionist, LA-based sound artist claire rousay creates deeply personal, emotionally charged sonic works that place everyday sounds under the microscope. Over the last few years, they have collaborated with a wide range of like-minded artists, including more eaze, LEYA, Mabe Fratti, Patrick Shiroishi, and Martyna Basta.<\/p>\n\n\n\n

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Martyna Basta<\/a><\/strong>
Martyna Basta is a Polish composer and musician who was classically trained in guitar before moving away from academic music. After performing a Mauro Giuliani concerto and selling her beloved instrument, she used the money to buy a synthesizer and began exploring field recordings, voice, electronics, and unconventional approaches to instrumentation.<\/p>\n\n\n\n

After self-releasing a series of recordings on Bandcamp, Basta\u2019s debut album proper, Making Eye Contact With Solitude<\/em>, appeared on Slovakia\u2019s Warm Winters label and was praised for its subtlety and restraint. Her music combines processed violin, zither and harpsichord, vocals, and environmental recordings to create intimate, mysterious sound worlds.<\/p>\n\n\n\n

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Keith „Giant Claw” Rankin<\/strong>
New collaboration between American electronic producer Keith „Giant Claw” Rankin, head of the pioneering label Orange Milk Records, and Warsaw soundtrack composer and performer Julek ploski. Together, they present a new A\/V work called CONTROL FREAK<\/em>, the result of an Unsound<\/em>-commission and residency in Warsaw.<\/p>\n\n\n\n


Giant Claw is the musical project of an American electronic musician, visual artist and Orange Milk Records co-founder Keith Rankin. His music has explored a wide range of electronic styles since the early 2010s, both as Giant Claw and as a member of death\u2019s dynamic shroud and Cream Juice. Rankin is also known for his visual art, which has appeared on album covers by artists including Rico Nasty and in publications such as MIT Technology Review<\/em><\/p>\n\n\n\n

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Julek ploski<\/strong>
Julek ploski is a Polish electronic music producer whose work moves fluidly between maximalist, hyper-digital chaos and tender emotional introspection. He combines cinematic and symphonic-opera grandeur, high-octane rave beats, lyrical piano melodies, and elements of trap and metal.<\/p>\n\n\n\n

Known for his distinctive audiovisual performances, ploski pairs his music with surreal, absurdist digital animations that he creates himself. His work moves between euphoric club energy, paranoid urgency, and intimate introspection, creating a distinctive aesthetic that draws on cinematic melodrama and Internet nostalgia.<\/p>\n\n\n\n

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Hania Rani<\/a> presents Non-Fiction<\/em><\/strong>
Rani, who shifts effortlessly between classical and experimental music, was awarded the European Film Award for Best Composer for her score for Joachim Trier\u2019s Academy Award-winning movie Sentimental Value<\/em>. Rani\u2019s Non-Fiction: Piano Concerto in Four Movements is an empathic and moving work for orchestra partially inspired by the story of the young music prodigy Josima Feldschuh, who was forced into the Warsaw Ghetto during World War II. Rani explores Feldschuh\u2019s short life through the lens of contemporary Ukraine and Gaza. Non-Fiction<\/em> will be performed by Rani and the Warsaw-based 45-piece Sinfonia Varsovia with special guest drummer Valentina Magaletti and saxophonist Jack Wyllie.<\/p>\n\n\n\n

Hania Rani\u2019s music grabs you \u2014 its gravitational pull sucks you into a hypnotic trance, regardless of your will. Pianist, composer, and vocalist, she has emerged as a genre-blending nonconformist who nevertheless has made a name for herself interweaving classical, jazz, and electronic influences. Born in 1990 in Gda\u0144sk, Poland, Hania began playing the piano at age seven. She eventually trained as a classical pianist in Warsaw and later pursued studies in Berlin, where she began to explore electronic music. Recently, she has settled in London.<\/p>\n\n\n\n

Rani is a quiet star \u2014 more interested in connection than fame or spectacle \u2013 and constantly seeks the new in her work, challenging herself and her audience in an active process of renewal and regeneration. She\u2019s since progressed swiftly through a series encompassing solo piano albums like 2019\u2019s Esja, 2023\u2019s more electronically inclined Ghosts, not to mention film and theater scores, art installations, even her first piano concerto.<\/p>\n\n\n\n

It was during the second half of the 2010s that Rani moved to Berlin to continue her studies at Hanns Eisler Hochschule f\u00fcr Musikwhere she really developed as a composer, taking counterpoint and contemporary music classes as well as studying acoustics and collaborating with contemporary opera and theatr directors, as well as poets. It was also in Berlin where Rani would start to explore electronic music and experience a growing sense of freedom, expanding what felt possible as a pianist and performer.<\/p>\n\n\n\n

Hania Rani, photo by @ Sian O’Connor<\/p>\n\n\n\n

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Sinfonia Varsovia<\/a><\/strong>
Formed in 1984, Sinfonia Varsovia is a cultural institution jointly managed by the Capital City of Warsaw and the Ministry of Culture and National Heritage. The institution presents symphonic and chamber concerts, festivals, competitions, and other events aimed at popularizing music.<\/p>\n\n\n\n

Its broad cultural offering includes Sinfonia Varsovia Plays Chamber Music<\/em>, events for young listeners such as Smykofonie on Grochowska Street<\/em> and Mornings<\/em>, and concerts promoting new Polish symphonic music, including the Resounds<\/em> series and Experimental Tuesdays<\/em>. Sinfonia Varsovia also organizes the Mad About Music<\/em> festival and the Franciszek Wybra\u0144czyk Sinfonia Varsovia For Its City Festival<\/em>. <\/p>\n\n\n\n

Sinfonia Varsovia photo by @ Miros\u0142aw Pietruszy\u0144ski<\/p>\n\n\n\n

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Ksi\u0119\u017cyc<\/strong>
The final evening will open with a rare concert from Ksi\u0119\u017cyc. The band\u2019s eerily beautiful, self-titled 1996 debut LP has earned them a devoted cult following in Europe. In celebration of the album\u2019s 30th anniversary, Ksi\u0119\u017cyc will perform a show based around the album, entitled The Eternal Circle<\/em>. Special guests, soon to be announced, will join them on stage.<\/p>\n\n\n\n

Ksi\u0119\u017cyc, Polish for \u201cthe Moon,\u201d is a legendary Polish underground band founded in the early 1990s. The group has roots in avant-garde theater, traditional Slavic folk music, and minimalism, and its distinctive experimental sound combines vocals, acoustic instruments, and tape with influences from psychedelia. The group released its classic self-titled album on OBUH before disbanding shortly afterward.<\/p>\n\n\n\n

Ksi\u0119\u017cyc remained inactive for nearly two decades, with its music circulating mainly through low-budget records, cassettes, and the Internet. The group returned to the stage at Unsound 2014 in Krak\u00f3w and has since attracted a much wider audience, including many listeners who do not speak Polish.<\/p>\n\n\n\n

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Valentina Magaletti<\/a><\/strong>
Valentina Magaletti is a queer drummer, composer, multi-instrumentalist, and curator who treats percussion as a political and poetic instrument\u2014an unruly body that refuses straight lines, fixed identities, and normative rhythms. Her work dismantles the boundaries between noise, ritual, and music, transforming ceramics, found objects, and skin-based textures into tools for resistance and queer world-building. <\/p>\n\n\n\n

Magaletti moves fluidly between experimental, improvised, and popular music, collaborating with artists including Loraine James,upsammy,Nidia, Mica Levi, Lafawndah, Nicolas Jaar, Philip Selway(Radiohead),Deb Googe(MBV),Thurston Moore,Jandek, Fred Frith,Pat Thomas and Floating Point to name a few. Yet it is in her solo practice\u2014most notably A Queer Anthology of Drums<\/em>\u2014that her politics become most explicit: a collage of breath, field recordings, and percussive debris that explores queer embodiment as both vulnerability and defiance.<\/p>\n\n\n\n

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Jack Wyllie<\/a><\/strong>
Saxophonist, flautist and composer, Jack Wyllie, is perhaps best known as the co-founder of Mercury Prize nominated wide-screen minimalists Portico Quartet and as 1\/3 of revelatory, ambient improvising trio Szun Waves, but his distinctive voice on flute, soprano and tenor saxophones mark him out as a key figure in contemporary music. A keen collaborator whose projects have drawn on ambient, Fourth-world, electronica and modern classical influences, Eternal Spring<\/em> is the first recording under his own name.<\/p>\n\n\n\n


Eternal Spring<\/em>, which features collaborators as diverse as erstwhile Portico Quartet band mates drummer Duncan Bellamy and bassist Milo Fitzpatrick, iconoclastic Polish artist Hania Rani, cellist Dobrawa Czocher and Australian mezzo-soprano Lotte Betts-Dean, draws inspiration from both Wyllie\u2019s love of verdant nature but also the idea of a constant, flickering sense of hope and his compositions balance elevating melodies and cyclical rhythms while unashamedly reaching for something hopeful and beautiful.
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Unsound<\/a><\/strong><\/p>\n\n\n\n

Unsound focuses on a broad swath of contemporary music \u2014 emerging, experimental, and leftfield \u2014 that resists typical genre constraints. It has developed a reputation for identifying innovative scenes and radical sounds.<\/p>\n\n\n\n

Unsound New York first took place in 2010 with major acclaim from press and fans alike. The festival\u2019s broad remit to combine live events with club events, the known with the unknown, and to include a good number of under-exposed (at that time) Polish and Eastern European acts was a winner. The Sunday New York Times declared \u2018Hello, New York: Avant Garde Eastern Europe\u2019 with a full-page feature that included festival co-founder Mat Schulz noting \u201cThe fact that (Unsound is) coming from Krakow in a sense makes it more interesting. It\u2019s not what you would expect, and it makes a comment about the way that culture now doesn\u2019t necessarily come from these precise points you\u2019d think it would come from. That\u2019s what this festival is about as well: disrupting preconceived notions of a lot of different types, not only about what a country or a city is, or what cultural centers are, but also what music is and how different kinds of music can be connected. That\u2019s really at the heart of the whole enterprise.\u201d As well as spotlighting emerging artists, Unsound also commissions new shows and encourages cross-border collaborations, adapts and reimagines abandoned spaces for concerts and club nights, manages cutting-edge artists, and is known for its sound-inspired Ephemera perfume project. Unsound is also a platform, commissioning and releasing new music and books.<\/p>\n\n\n\n

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Unsound is co-organized and co-presented by Fundacja Tone \u2013 Muzyka i Nowe Formy Sztuki and the Polish Cultural Institute New York. This project is co-financed by the Ministry of Culture and National Heritage of the Republic of Poland from the Culture Promotion Fund in partnership with the Adam Mickiewicz Institute. The main partner of Unsound Web KRK \u2013 NYC is the Polish National Foundation.Concerts at Lincoln Center for the Performing Arts are part of the Lincoln Center Presents Season. Curated by Mat Schulz, Unsound Artistic Director.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

First Artist Announcement Wednesday, October 21, 2026 at 7:30 PMFUJI|||||||||||TA & Ka Baird \/ Actress \/ Team RolfesLincoln Center PresentsAlice Tully HallLincoln Center for the Performing Arts1887 Broadway, New York, NY 10023Choose What You Pay Thursday, October 22, 2026 at 7:30 PMclaire rousay & Martyna Basta \/ Keith „Giant Claw” Rankin & Julek ploskiLincoln Center […]<\/p>\n","protected":false},"author":202,"featured_media":21270,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[5,7],"tags":[],"class_list":["post-21272","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events","category-music"],"yoast_head":"\nUnsound New York 2026 - Instytut Polski w Nowym Jorku<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/instytutpolski.pl\/newyork\/2026\/08\/10\/unsound-new-york-2026\/\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Unsound New York 2026 - Instytut Polski w Nowym Jorku\" \/>\n<meta property=\"og:description\" content=\"First Artist Announcement Wednesday, October 21, 2026 at 7:30 PMFUJI|||||||||||TA & Ka Baird \/ Actress \/ Team RolfesLincoln Center PresentsAlice Tully HallLincoln Center for the Performing Arts1887 Broadway, New York, NY 10023Choose What You Pay Thursday, October 22, 2026 at 7:30 PMclaire rousay & Martyna Basta \/ Keith „Giant Claw” Rankin & Julek ploskiLincoln Center […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/instytutpolski.pl\/newyork\/2026\/08\/10\/unsound-new-york-2026\/\" \/>\n<meta property=\"og:site_name\" content=\"Instytut Polski w Nowym Jorku\" \/>\n<meta property=\"article:published_time\" content=\"2026-08-10T14:44:15+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-08-27T14:41:23+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/08\/Unsound-Nowy-York.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1080\" \/>\n\t<meta property=\"og:image:height\" content=\"1350\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"stypulkowskaa\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Napisane przez\" \/>\n\t<meta name=\"twitter:data1\" content=\"stypulkowskaa\" \/>\n\t<meta name=\"twitter:label2\" content=\"Szacowany czas czytania\" \/>\n\t<meta name=\"twitter:data2\" content=\"20 minut\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"event\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/08\/10\/unsound-new-york-2026\/\",\"url\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/08\/10\/unsound-new-york-2026\/\",\"name\":\"Unsound New York 2026\",\"isPartOf\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/08\/10\/unsound-new-york-2026\/#primaryimage\"},\"image\":[\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/08\/Unsound-Nowy-York.jpg\",\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/08\/Unsound-Nowy-York-240x300.jpg\",\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/08\/Unsound-Nowy-York-819x1024.jpg\",\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/08\/Unsound-Nowy-York.jpg\"],\"thumbnailUrl\":\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/08\/Unsound-Nowy-York.jpg\",\"datePublished\":\"2026-08-10T14:44:15+02:00\",\"dateModified\":\"2026-08-27T14:41:23+02:00\",\"author\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/c732b2695ee92026d080eec35471c7f1\"},\"breadcrumb\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/08\/10\/unsound-new-york-2026\/#breadcrumb\"},\"inLanguage\":\"pl-PL\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/instytutpolski.pl\/newyork\/2026\/08\/10\/unsound-new-york-2026\/\"]}],\"@context\":\"https:\/\/schema.org\",\"startDate\":\"2026-10-21\",\"endDate\":\"2026-10-23\",\"eventStatus\":\"EventScheduled\",\"eventAttendanceMode\":\"OfflineEventAttendanceMode\",\"location\":{\"@type\":\"place\",\"name\":\"\",\"address\":\"\",\"geo\":{\"@type\":\"GeoCoordinates\",\"latitude\":\"\",\"longitude\":\"\"}},\"description\":\"First Artist Announcement\\nWednesday, October 21, 2026 at 7:30 PMFUJI|||||||||||TA & Ka Baird \/ Actress \/ Team RolfesLincoln Center PresentsAlice Tully HallLincoln Center for the Performing Arts1887 Broadway, New York, NY 10023Choose What You Pay\\nThursday, October 22, 2026 at 7:30 PMclaire rousay & Martyna Basta \/ Keith \\\"Giant Claw\\\" Rankin & Julek ploskiLincoln Center PresentsDavid Rubenstein AtriumLincoln Center for the Performing Arts1941 Broadway at W 65th St, New York, NY 10023Free\\nFriday, October 23, 2026 at 7:30 PMHania Rani presents Non-Fiction, featuring Sinfonia Varsovia \/ Ksi\u0119\u017cycLincoln Center PresentsWu Tsai Theater, David Geffen Hall10 Lincoln Center Plaza, New York, NY 10023Choose What You Pay\\nUnsound New York 2026\\nThis October, Unsound returns to New York. Our first artist announcement focuses a three-night residency at Lincoln Center, presenting a series of U.S. premieres, new commissions, and rare performances. Unsound New York is part of the 2026 Soft Power theme, with festivals also taking place in Warsaw-Krak\u00f3w (October 2 - 11), and London in late November.\\nFrom October 21\u201323, the Lincoln Center program brings together artists working across experimental sound, contemporary composition, audiovisual performance, virtual theater, and orchestral music. Alongside landmark performances from internationally renowned musicians, the residency also highlights new collaborations between Polish and American artists developed through Unsound commissions and residencies.\\nTickets go on sale on September 9, and will be Choose-What-You-Pay as part of the Lincoln Center Presents series.\\nThe opening night at Alice Tully Hall on October 21 begins with the North American premiere of Where Does Fire End?, an Unsound commission by Japanese sound artist FUJI|||||||||||TA and composer-performer Ka Baird, exploring breath, resonance, and voice as physical material. Electronic music pioneer Actress follows with the U.S. premiere of Radical Frame, a new audiovisual work reimagining both recent and earlier material with immersive visuals by Filip Popik and lighting by Shaun Murphy. The evening closes with Mustang Speedrun from virtual performance studio Team Rolfes, combining VR puppetry, motion capture, live musicians, actors, a motorized racing simulator, and live-edited camerawork into a singular theatrical experience. Musicians to be announced soon.\\nThe second evening, presented in the Atrium as part of Lincoln Center's Festival of Firsts, focuses on artistic exchange between Poland and the United States. claire rousay and Krak\u00f3w-based composer Martyna Basta present the U.S. performance debut of hotel room, developed after a week spent composing together in rural Poland and accompanied by visuals from Theresa Baumgartner. The program continues with a new audiovisual collaboration between Keith \\\"Giant Claw\\\" Rankin and Warsaw composer Julek ploski, created through an Unsound commission and residency.\\nThe residency concludes in the David Geffen Hall with two very different perspectives on Polish music. Ksi\u0119\u017cyc, whose singular blend of minimalism and Slavic folk traditions has inspired a devoted following for three decades, marks the 30th anniversary of its landmark debut self-titled album. Following is Polish composer, pianist, and singer Hania Rani, whose work moves effortlessly between classical and experimental music. Rani presents the U.S. premiere of Non-Fiction \u2013 Piano Concerto in Four Movements with the 45-piece Sinfonia Varsovia, joined by Valentina Magaletti and Jack Wyllie. Partially inspired by the story of the young piano prodigy Josima Feldschuh, who was forced into the Warsaw Ghetto during World War II, the work reflects on historical trauma through the lens of present-day horrors in Ukraine and Gaza.\\nStay tuned for the next Unsound New York announcement, coming soon, involving a discourse program, a club night jointly presented with Dripping, and more!\\nFUJI||||||||||TA FUJI||||||||||TA joins composer-performer Ka Baird for the North American premiere of the Unsound commission Where Does Fire End?, which sculpts breath, pressure, and resonance into tactile sound, exploring the voice as tangible artistic material.\\nFUJI||||||||||TA is a Japanese sound artist whose work draws on natural phenomena and an interest in hearing unheard sounds and noises. In 2009, Fujita handcrafted an original pipe organ with only 11 pipes and no keyboard. Created without specialized knowledge, the instrument was designed to create a landscape rather than function as a conventional musical instrument.\\nInspired by Japanese gagaku, the instrument\u2019s air pump, called \u201cFUIGO,\u201d is based on an ancient blacksmith\u2019s bellows and is operated with the left hand while playing. Because the instrument is one of a kind, Fujita developed his own technique for playing. The water element (with sound synthesized water tanks) has recently been added to his performance repertoire. The music consists of water sounds from multiple aquariums alongside his pipe organ, and his voice.\\nFUJI||||||||||TA photo by @ Olivier Jaquet\\nKa Baird Ka Baird is an American recording artist, multi-instrumentalist, producer, and performer based in New York City. Using extended voice and microphone techniques along with electronics, feedback, field recordings, and flutes, they explore the outer dimensions of sound through performance. They create a present tense sound with a vigorous, ritualistic delivery that seeks extreme release through physical exertion and psychic extension. They have collaborated with many other artists, both in structured compositions and through their dedicated practice of improvisation. \\nKnown for their raw, boundary-pushing solo performances, Baird explores the physical and expressive possibilities of sound through a practice that moves freely between music, performance, and improvisation.\\nActressActress will present the U.S. premiere of his new A\/V show, Radical Frame, a landmark performance that reshapes and re-engineers material from his new and past output. The immersive visual experience features projected visuals by Polish artist Filip Popik and lighting design by Shaun Murphy.\\nDarren J. Cunningham, known professionally as Actress, is a British electronic musician and DJ. Since emerging in 2004 with the eccentric No Tricks EP, he has become an influential figure in underground electronic music. Over more than two decades, Cunningham has continually reinvented his sound through enigmatic solo records such as 2024\u2019s Statik and collaborations with artists from across the musical spectrum, most recently synth pioneer Suzanne Ciani.\\nTeam RolfesTeam Rolfes is a realtime performance and image house based in NYC, led by Sam Rolfes and AndyRolfes, that specializes in figurative animation, VR puppetry and mixed-reality collage. The studio's practice expresses itself across multiple formats and platforms such as livestream improvisational comedy, live motion-capture animation both on large festival stages and in underground rave bunkers. They have also created print design for fashion collections, album covers, and music videos.\\nclaire rousayThe prolific experimental-ambient artist claire rousay spent a week in 2024 composing in a secluded village in the Polish countryside with Krak\u00f3w-based composer and musician Martyna Basta. Their resulting joint show and album, hotel room, is a rugged travelogue of loose musical fragments, auto-tuned vocals, and complex atmospheres. The U.S. performance debut of hotel room features projected visuals by German artist Theresa Baumgartner.\\nOriginally trained as a percussionist, LA-based sound artist claire rousay creates deeply personal, emotionally charged sonic works that place everyday sounds under the microscope. Over the last few years, they have collaborated with a wide range of like-minded artists, including more eaze, LEYA, Mabe Fratti, Patrick Shiroishi, and Martyna Basta.\\nMartyna BastaMartyna Basta is a Polish composer and musician who was classically trained in guitar before moving away from academic music. After performing a Mauro Giuliani concerto and selling her beloved instrument, she used the money to buy a synthesizer and began exploring field recordings, voice, electronics, and unconventional approaches to instrumentation.\\nAfter self-releasing a series of recordings on Bandcamp, Basta\u2019s debut album proper, Making Eye Contact With Solitude, appeared on Slovakia\u2019s Warm Winters label and was praised for its subtlety and restraint. Her music combines processed violin, zither and harpsichord, vocals, and environmental recordings to create intimate, mysterious sound worlds.\\nKeith \\\"Giant Claw\\\" RankinNew collaboration between American electronic producer Keith \\\"Giant Claw\\\" Rankin, head of the pioneering label Orange Milk Records, and Warsaw soundtrack composer and performer Julek ploski. Together, they present a new A\/V work called CONTROL FREAK, the result of an Unsound-commission and residency in Warsaw.\\nGiant Claw is the musical project of an American electronic musician, visual artist and Orange Milk Records co-founder Keith Rankin. His music has explored a wide range of electronic styles since the early 2010s, both as Giant Claw and as a member of death\u2019s dynamic shroud and Cream Juice. Rankin is also known for his visual art, which has appeared on album covers by artists including Rico Nasty and in publications such as MIT Technology Review\\nJulek ploskiJulek ploski is a Polish electronic music producer whose work moves fluidly between maximalist, hyper-digital chaos and tender emotional introspection. He combines cinematic and symphonic-opera grandeur, high-octane rave beats, lyrical piano melodies, and elements of trap and metal.\\nKnown for his distinctive audiovisual performances, ploski pairs his music with surreal, absurdist digital animations that he creates himself. His work moves between euphoric club energy, paranoid urgency, and intimate introspection, creating a distinctive aesthetic that draws on cinematic melodrama and Internet nostalgia.\\nHania Rani presents Non-FictionRani, who shifts effortlessly between classical and experimental music, was awarded the European Film Award for Best Composer for her score for Joachim Trier\u2019s Academy Award-winning movie Sentimental Value. Rani\u2019s Non-Fiction: Piano Concerto in Four Movements is an empathic and moving work for orchestra partially inspired by the story of the young music prodigy Josima Feldschuh, who was forced into the Warsaw Ghetto during World War II. Rani explores Feldschuh\u2019s short life through the lens of contemporary Ukraine and Gaza. Non-Fiction will be performed by Rani and the Warsaw-based 45-piece Sinfonia Varsovia with special guest drummer Valentina Magaletti and saxophonist Jack Wyllie.\\nHania Rani\u2019s music grabs you \u2014 its gravitational pull sucks you into a hypnotic trance, regardless of your will. Pianist, composer, and vocalist, she has emerged as a genre-blending nonconformist who nevertheless has made a name for herself interweaving classical, jazz, and electronic influences. Born in 1990 in Gda\u0144sk, Poland, Hania began playing the piano at age seven. She eventually trained as a classical pianist in Warsaw and later pursued studies in Berlin, where she began to explore electronic music. Recently, she has settled in London.\\nRani is a quiet star \u2014 more interested in connection than fame or spectacle \u2013 and constantly seeks the new in her work, challenging herself and her audience in an active process of renewal and regeneration. She\u2019s since progressed swiftly through a series encompassing solo piano albums like 2019\u2019s Esja, 2023\u2019s more electronically inclined Ghosts, not to mention film and theater scores, art installations, even her first piano concerto.\\nIt was during the second half of the 2010s that Rani moved to Berlin to continue her studies at Hanns Eisler Hochschule f\u00fcr Musikwhere she really developed as a composer, taking counterpoint and contemporary music classes as well as studying acoustics and collaborating with contemporary opera and theatr directors, as well as poets. It was also in Berlin where Rani would start to explore electronic music and experience a growing sense of freedom, expanding what felt possible as a pianist and performer.\\nHania Rani, photo by @ Sian O'Connor\\nSinfonia VarsoviaFormed in 1984, Sinfonia Varsovia is a cultural institution jointly managed by the Capital City of Warsaw and the Ministry of Culture and National Heritage. The institution presents symphonic and chamber concerts, festivals, competitions, and other events aimed at popularizing music.\\nIts broad cultural offering includes Sinfonia Varsovia Plays Chamber Music, events for young listeners such as Smykofonie on Grochowska Street and Mornings, and concerts promoting new Polish symphonic music, including the Resounds series and Experimental Tuesdays. Sinfonia Varsovia also organizes the Mad About Music festival and the Franciszek Wybra\u0144czyk Sinfonia Varsovia For Its City Festival. \\nSinfonia Varsovia photo by @ Miros\u0142aw Pietruszy\u0144ski\\nKsi\u0119\u017cycThe final evening will open with a rare concert from Ksi\u0119\u017cyc. The band\u2019s eerily beautiful, self-titled 1996 debut LP has earned them a devoted cult following in Europe. In celebration of the album\u2019s 30th anniversary, Ksi\u0119\u017cyc will perform a show based around the album, entitled The Eternal Circle. Special guests, soon to be announced, will join them on stage.\\nKsi\u0119\u017cyc, Polish for \u201cthe Moon,\u201d is a legendary Polish underground band founded in the early 1990s. The group has roots in avant-garde theater, traditional Slavic folk music, and minimalism, and its distinctive experimental sound combines vocals, acoustic instruments, and tape with influences from psychedelia. The group released its classic self-titled album on OBUH before disbanding shortly afterward.\\nKsi\u0119\u017cyc remained inactive for nearly two decades, with its music circulating mainly through low-budget records, cassettes, and the Internet. The group returned to the stage at Unsound 2014 in Krak\u00f3w and has since attracted a much wider audience, including many listeners who do not speak Polish.\\nValentina MagalettiValentina Magaletti is a queer drummer, composer, multi-instrumentalist, and curator who treats percussion as a political and poetic instrument\u2014an unruly body that refuses straight lines, fixed identities, and normative rhythms. Her work dismantles the boundaries between noise, ritual, and music, transforming ceramics, found objects, and skin-based textures into tools for resistance and queer world-building. \\nMagaletti moves fluidly between experimental, improvised, and popular music, collaborating with artists including Loraine James,upsammy,Nidia, Mica Levi, Lafawndah, Nicolas Jaar, Philip Selway(Radiohead),Deb Googe(MBV),Thurston Moore,Jandek, Fred Frith,Pat Thomas and Floating Point to name a few. Yet it is in her solo practice\u2014most notably A Queer Anthology of Drums\u2014that her politics become most explicit: a collage of breath, field recordings, and percussive debris that explores queer embodiment as both vulnerability and defiance.\\nJack WyllieSaxophonist, flautist and composer, Jack Wyllie, is perhaps best known as the co-founder of Mercury Prize nominated wide-screen minimalists Portico Quartet and as 1\/3 of revelatory, ambient improvising trio Szun Waves, but his distinctive voice on flute, soprano and tenor saxophones mark him out as a key figure in contemporary music. A keen collaborator whose projects have drawn on ambient, Fourth-world, electronica and modern classical influences, Eternal Spring is the first recording under his own name.\\nEternal Spring, which features collaborators as diverse as erstwhile Portico Quartet band mates drummer Duncan Bellamy and bassist Milo Fitzpatrick, iconoclastic Polish artist Hania Rani, cellist Dobrawa Czocher and Australian mezzo-soprano Lotte Betts-Dean, draws inspiration from both Wyllie\u2019s love of verdant nature but also the idea of a constant, flickering sense of hope and his compositions balance elevating melodies and cyclical rhythms while unashamedly reaching for something hopeful and beautiful.\\nUnsound\\nUnsound focuses on a broad swath of contemporary music \u2014 emerging, experimental, and leftfield \u2014 that resists typical genre constraints. It has developed a reputation for identifying innovative scenes and radical sounds.\\nUnsound New York first took place in 2010 with major acclaim from press and fans alike. The festival\u2019s broad remit to combine live events with club events, the known with the unknown, and to include a good number of under-exposed (at that time) Polish and Eastern European acts was a winner. The Sunday New York Times declared \u2018Hello, New York: Avant Garde Eastern Europe\u2019 with a full-page feature that included festival co-founder Mat Schulz noting \u201cThe fact that (Unsound is) coming from Krakow in a sense makes it more interesting. It\u2019s not what you would expect, and it makes a comment about the way that culture now doesn\u2019t necessarily come from these precise points you\u2019d think it would come from. That\u2019s what this festival is about as well: disrupting preconceived notions of a lot of different types, not only about what a country or a city is, or what cultural centers are, but also what music is and how different kinds of music can be connected. That\u2019s really at the heart of the whole enterprise.\u201d As well as spotlighting emerging artists, Unsound also commissions new shows and encourages cross-border collaborations, adapts and reimagines abandoned spaces for concerts and club nights, manages cutting-edge artists, and is known for its sound-inspired Ephemera perfume project. Unsound is also a platform, commissioning and releasing new music and books.\\nUnsound is co-organized and co-presented by Fundacja Tone \u2013 Muzyka i Nowe Formy Sztuki and the Polish Cultural Institute New York. This project is co-financed by the Ministry of Culture and National Heritage of the Republic of Poland from the Culture Promotion Fund in partnership with the Adam Mickiewicz Institute. The main partner of Unsound Web KRK \u2013 NYC is the Polish National Foundation.Concerts at Lincoln Center for the Performing Arts are part of the Lincoln Center Presents Season. 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Instytut Polski w Nowym Jorku","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/instytutpolski.pl\/newyork\/2026\/08\/10\/unsound-new-york-2026\/","og_locale":"pl_PL","og_type":"article","og_title":"Unsound New York 2026 - Instytut Polski w Nowym Jorku","og_description":"First Artist Announcement Wednesday, October 21, 2026 at 7:30 PMFUJI|||||||||||TA & Ka Baird \/ Actress \/ Team RolfesLincoln Center PresentsAlice Tully HallLincoln Center for the Performing Arts1887 Broadway, New York, NY 10023Choose What You Pay Thursday, October 22, 2026 at 7:30 PMclaire rousay & Martyna Basta \/ Keith „Giant Claw” Rankin & Julek ploskiLincoln Center […]","og_url":"https:\/\/instytutpolski.pl\/newyork\/2026\/08\/10\/unsound-new-york-2026\/","og_site_name":"Instytut Polski w Nowym Jorku","article_published_time":"2026-08-10T14:44:15+00:00","article_modified_time":"2026-08-27T14:41:23+00:00","og_image":[{"width":1080,"height":1350,"url":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/08\/Unsound-Nowy-York.jpg","type":"image\/jpeg"}],"author":"stypulkowskaa","twitter_card":"summary_large_image","twitter_misc":{"Napisane przez":"stypulkowskaa","Szacowany czas czytania":"20 minut"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"event","@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/08\/10\/unsound-new-york-2026\/","url":"https:\/\/instytutpolski.pl\/newyork\/2026\/08\/10\/unsound-new-york-2026\/","name":"Unsound New York 2026","isPartOf":{"@id":"https:\/\/instytutpolski.pl\/newyork\/#website"},"primaryImageOfPage":{"@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/08\/10\/unsound-new-york-2026\/#primaryimage"},"image":["https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/08\/Unsound-Nowy-York.jpg","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/08\/Unsound-Nowy-York-240x300.jpg","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/08\/Unsound-Nowy-York-819x1024.jpg","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/08\/Unsound-Nowy-York.jpg"],"thumbnailUrl":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/08\/Unsound-Nowy-York.jpg","datePublished":"2026-08-10T14:44:15+02:00","dateModified":"2026-08-27T14:41:23+02:00","author":{"@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/c732b2695ee92026d080eec35471c7f1"},"breadcrumb":{"@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/08\/10\/unsound-new-york-2026\/#breadcrumb"},"inLanguage":"pl-PL","potentialAction":[{"@type":"ReadAction","target":["https:\/\/instytutpolski.pl\/newyork\/2026\/08\/10\/unsound-new-york-2026\/"]}],"@context":"https:\/\/schema.org","startDate":"2026-10-21","endDate":"2026-10-23","eventStatus":"EventScheduled","eventAttendanceMode":"OfflineEventAttendanceMode","location":{"@type":"place","name":"","address":"","geo":{"@type":"GeoCoordinates","latitude":"","longitude":""}},"description":"First Artist Announcement\nWednesday, October 21, 2026 at 7:30 PMFUJI|||||||||||TA & Ka Baird \/ Actress \/ Team RolfesLincoln Center PresentsAlice Tully HallLincoln Center for the Performing Arts1887 Broadway, New York, NY 10023Choose What You Pay\nThursday, October 22, 2026 at 7:30 PMclaire rousay & Martyna Basta \/ Keith \"Giant Claw\" Rankin & Julek ploskiLincoln Center PresentsDavid Rubenstein AtriumLincoln Center for the Performing Arts1941 Broadway at W 65th St, New York, NY 10023Free\nFriday, October 23, 2026 at 7:30 PMHania Rani presents Non-Fiction, featuring Sinfonia Varsovia \/ Ksi\u0119\u017cycLincoln Center PresentsWu Tsai Theater, David Geffen Hall10 Lincoln Center Plaza, New York, NY 10023Choose What You Pay\nUnsound New York 2026\nThis October, Unsound returns to New York. Our first artist announcement focuses a three-night residency at Lincoln Center, presenting a series of U.S. premieres, new commissions, and rare performances. Unsound New York is part of the 2026 Soft Power theme, with festivals also taking place in Warsaw-Krak\u00f3w (October 2 - 11), and London in late November.\nFrom October 21\u201323, the Lincoln Center program brings together artists working across experimental sound, contemporary composition, audiovisual performance, virtual theater, and orchestral music. Alongside landmark performances from internationally renowned musicians, the residency also highlights new collaborations between Polish and American artists developed through Unsound commissions and residencies.\nTickets go on sale on September 9, and will be Choose-What-You-Pay as part of the Lincoln Center Presents series.\nThe opening night at Alice Tully Hall on October 21 begins with the North American premiere of Where Does Fire End?, an Unsound commission by Japanese sound artist FUJI|||||||||||TA and composer-performer Ka Baird, exploring breath, resonance, and voice as physical material. Electronic music pioneer Actress follows with the U.S. premiere of Radical Frame, a new audiovisual work reimagining both recent and earlier material with immersive visuals by Filip Popik and lighting by Shaun Murphy. The evening closes with Mustang Speedrun from virtual performance studio Team Rolfes, combining VR puppetry, motion capture, live musicians, actors, a motorized racing simulator, and live-edited camerawork into a singular theatrical experience. Musicians to be announced soon.\nThe second evening, presented in the Atrium as part of Lincoln Center's Festival of Firsts, focuses on artistic exchange between Poland and the United States. claire rousay and Krak\u00f3w-based composer Martyna Basta present the U.S. performance debut of hotel room, developed after a week spent composing together in rural Poland and accompanied by visuals from Theresa Baumgartner. The program continues with a new audiovisual collaboration between Keith \"Giant Claw\" Rankin and Warsaw composer Julek ploski, created through an Unsound commission and residency.\nThe residency concludes in the David Geffen Hall with two very different perspectives on Polish music. Ksi\u0119\u017cyc, whose singular blend of minimalism and Slavic folk traditions has inspired a devoted following for three decades, marks the 30th anniversary of its landmark debut self-titled album. Following is Polish composer, pianist, and singer Hania Rani, whose work moves effortlessly between classical and experimental music. Rani presents the U.S. premiere of Non-Fiction \u2013 Piano Concerto in Four Movements with the 45-piece Sinfonia Varsovia, joined by Valentina Magaletti and Jack Wyllie. Partially inspired by the story of the young piano prodigy Josima Feldschuh, who was forced into the Warsaw Ghetto during World War II, the work reflects on historical trauma through the lens of present-day horrors in Ukraine and Gaza.\nStay tuned for the next Unsound New York announcement, coming soon, involving a discourse program, a club night jointly presented with Dripping, and more!\nFUJI||||||||||TA FUJI||||||||||TA joins composer-performer Ka Baird for the North American premiere of the Unsound commission Where Does Fire End?, which sculpts breath, pressure, and resonance into tactile sound, exploring the voice as tangible artistic material.\nFUJI||||||||||TA is a Japanese sound artist whose work draws on natural phenomena and an interest in hearing unheard sounds and noises. In 2009, Fujita handcrafted an original pipe organ with only 11 pipes and no keyboard. Created without specialized knowledge, the instrument was designed to create a landscape rather than function as a conventional musical instrument.\nInspired by Japanese gagaku, the instrument\u2019s air pump, called \u201cFUIGO,\u201d is based on an ancient blacksmith\u2019s bellows and is operated with the left hand while playing. Because the instrument is one of a kind, Fujita developed his own technique for playing. The water element (with sound synthesized water tanks) has recently been added to his performance repertoire. The music consists of water sounds from multiple aquariums alongside his pipe organ, and his voice.\nFUJI||||||||||TA photo by @ Olivier Jaquet\nKa Baird Ka Baird is an American recording artist, multi-instrumentalist, producer, and performer based in New York City. Using extended voice and microphone techniques along with electronics, feedback, field recordings, and flutes, they explore the outer dimensions of sound through performance. They create a present tense sound with a vigorous, ritualistic delivery that seeks extreme release through physical exertion and psychic extension. They have collaborated with many other artists, both in structured compositions and through their dedicated practice of improvisation. \nKnown for their raw, boundary-pushing solo performances, Baird explores the physical and expressive possibilities of sound through a practice that moves freely between music, performance, and improvisation.\nActressActress will present the U.S. premiere of his new A\/V show, Radical Frame, a landmark performance that reshapes and re-engineers material from his new and past output. The immersive visual experience features projected visuals by Polish artist Filip Popik and lighting design by Shaun Murphy.\nDarren J. Cunningham, known professionally as Actress, is a British electronic musician and DJ. Since emerging in 2004 with the eccentric No Tricks EP, he has become an influential figure in underground electronic music. Over more than two decades, Cunningham has continually reinvented his sound through enigmatic solo records such as 2024\u2019s Statik and collaborations with artists from across the musical spectrum, most recently synth pioneer Suzanne Ciani.\nTeam RolfesTeam Rolfes is a realtime performance and image house based in NYC, led by Sam Rolfes and AndyRolfes, that specializes in figurative animation, VR puppetry and mixed-reality collage. The studio's practice expresses itself across multiple formats and platforms such as livestream improvisational comedy, live motion-capture animation both on large festival stages and in underground rave bunkers. They have also created print design for fashion collections, album covers, and music videos.\nclaire rousayThe prolific experimental-ambient artist claire rousay spent a week in 2024 composing in a secluded village in the Polish countryside with Krak\u00f3w-based composer and musician Martyna Basta. Their resulting joint show and album, hotel room, is a rugged travelogue of loose musical fragments, auto-tuned vocals, and complex atmospheres. The U.S. performance debut of hotel room features projected visuals by German artist Theresa Baumgartner.\nOriginally trained as a percussionist, LA-based sound artist claire rousay creates deeply personal, emotionally charged sonic works that place everyday sounds under the microscope. Over the last few years, they have collaborated with a wide range of like-minded artists, including more eaze, LEYA, Mabe Fratti, Patrick Shiroishi, and Martyna Basta.\nMartyna BastaMartyna Basta is a Polish composer and musician who was classically trained in guitar before moving away from academic music. After performing a Mauro Giuliani concerto and selling her beloved instrument, she used the money to buy a synthesizer and began exploring field recordings, voice, electronics, and unconventional approaches to instrumentation.\nAfter self-releasing a series of recordings on Bandcamp, Basta\u2019s debut album proper, Making Eye Contact With Solitude, appeared on Slovakia\u2019s Warm Winters label and was praised for its subtlety and restraint. Her music combines processed violin, zither and harpsichord, vocals, and environmental recordings to create intimate, mysterious sound worlds.\nKeith \"Giant Claw\" RankinNew collaboration between American electronic producer Keith \"Giant Claw\" Rankin, head of the pioneering label Orange Milk Records, and Warsaw soundtrack composer and performer Julek ploski. Together, they present a new A\/V work called CONTROL FREAK, the result of an Unsound-commission and residency in Warsaw.\nGiant Claw is the musical project of an American electronic musician, visual artist and Orange Milk Records co-founder Keith Rankin. His music has explored a wide range of electronic styles since the early 2010s, both as Giant Claw and as a member of death\u2019s dynamic shroud and Cream Juice. Rankin is also known for his visual art, which has appeared on album covers by artists including Rico Nasty and in publications such as MIT Technology Review\nJulek ploskiJulek ploski is a Polish electronic music producer whose work moves fluidly between maximalist, hyper-digital chaos and tender emotional introspection. He combines cinematic and symphonic-opera grandeur, high-octane rave beats, lyrical piano melodies, and elements of trap and metal.\nKnown for his distinctive audiovisual performances, ploski pairs his music with surreal, absurdist digital animations that he creates himself. His work moves between euphoric club energy, paranoid urgency, and intimate introspection, creating a distinctive aesthetic that draws on cinematic melodrama and Internet nostalgia.\nHania Rani presents Non-FictionRani, who shifts effortlessly between classical and experimental music, was awarded the European Film Award for Best Composer for her score for Joachim Trier\u2019s Academy Award-winning movie Sentimental Value. Rani\u2019s Non-Fiction: Piano Concerto in Four Movements is an empathic and moving work for orchestra partially inspired by the story of the young music prodigy Josima Feldschuh, who was forced into the Warsaw Ghetto during World War II. Rani explores Feldschuh\u2019s short life through the lens of contemporary Ukraine and Gaza. Non-Fiction will be performed by Rani and the Warsaw-based 45-piece Sinfonia Varsovia with special guest drummer Valentina Magaletti and saxophonist Jack Wyllie.\nHania Rani\u2019s music grabs you \u2014 its gravitational pull sucks you into a hypnotic trance, regardless of your will. Pianist, composer, and vocalist, she has emerged as a genre-blending nonconformist who nevertheless has made a name for herself interweaving classical, jazz, and electronic influences. Born in 1990 in Gda\u0144sk, Poland, Hania began playing the piano at age seven. She eventually trained as a classical pianist in Warsaw and later pursued studies in Berlin, where she began to explore electronic music. Recently, she has settled in London.\nRani is a quiet star \u2014 more interested in connection than fame or spectacle \u2013 and constantly seeks the new in her work, challenging herself and her audience in an active process of renewal and regeneration. She\u2019s since progressed swiftly through a series encompassing solo piano albums like 2019\u2019s Esja, 2023\u2019s more electronically inclined Ghosts, not to mention film and theater scores, art installations, even her first piano concerto.\nIt was during the second half of the 2010s that Rani moved to Berlin to continue her studies at Hanns Eisler Hochschule f\u00fcr Musikwhere she really developed as a composer, taking counterpoint and contemporary music classes as well as studying acoustics and collaborating with contemporary opera and theatr directors, as well as poets. It was also in Berlin where Rani would start to explore electronic music and experience a growing sense of freedom, expanding what felt possible as a pianist and performer.\nHania Rani, photo by @ Sian O'Connor\nSinfonia VarsoviaFormed in 1984, Sinfonia Varsovia is a cultural institution jointly managed by the Capital City of Warsaw and the Ministry of Culture and National Heritage. The institution presents symphonic and chamber concerts, festivals, competitions, and other events aimed at popularizing music.\nIts broad cultural offering includes Sinfonia Varsovia Plays Chamber Music, events for young listeners such as Smykofonie on Grochowska Street and Mornings, and concerts promoting new Polish symphonic music, including the Resounds series and Experimental Tuesdays. Sinfonia Varsovia also organizes the Mad About Music festival and the Franciszek Wybra\u0144czyk Sinfonia Varsovia For Its City Festival. \nSinfonia Varsovia photo by @ Miros\u0142aw Pietruszy\u0144ski\nKsi\u0119\u017cycThe final evening will open with a rare concert from Ksi\u0119\u017cyc. The band\u2019s eerily beautiful, self-titled 1996 debut LP has earned them a devoted cult following in Europe. In celebration of the album\u2019s 30th anniversary, Ksi\u0119\u017cyc will perform a show based around the album, entitled The Eternal Circle. Special guests, soon to be announced, will join them on stage.\nKsi\u0119\u017cyc, Polish for \u201cthe Moon,\u201d is a legendary Polish underground band founded in the early 1990s. The group has roots in avant-garde theater, traditional Slavic folk music, and minimalism, and its distinctive experimental sound combines vocals, acoustic instruments, and tape with influences from psychedelia. The group released its classic self-titled album on OBUH before disbanding shortly afterward.\nKsi\u0119\u017cyc remained inactive for nearly two decades, with its music circulating mainly through low-budget records, cassettes, and the Internet. The group returned to the stage at Unsound 2014 in Krak\u00f3w and has since attracted a much wider audience, including many listeners who do not speak Polish.\nValentina MagalettiValentina Magaletti is a queer drummer, composer, multi-instrumentalist, and curator who treats percussion as a political and poetic instrument\u2014an unruly body that refuses straight lines, fixed identities, and normative rhythms. Her work dismantles the boundaries between noise, ritual, and music, transforming ceramics, found objects, and skin-based textures into tools for resistance and queer world-building. \nMagaletti moves fluidly between experimental, improvised, and popular music, collaborating with artists including Loraine James,upsammy,Nidia, Mica Levi, Lafawndah, Nicolas Jaar, Philip Selway(Radiohead),Deb Googe(MBV),Thurston Moore,Jandek, Fred Frith,Pat Thomas and Floating Point to name a few. Yet it is in her solo practice\u2014most notably A Queer Anthology of Drums\u2014that her politics become most explicit: a collage of breath, field recordings, and percussive debris that explores queer embodiment as both vulnerability and defiance.\nJack WyllieSaxophonist, flautist and composer, Jack Wyllie, is perhaps best known as the co-founder of Mercury Prize nominated wide-screen minimalists Portico Quartet and as 1\/3 of revelatory, ambient improvising trio Szun Waves, but his distinctive voice on flute, soprano and tenor saxophones mark him out as a key figure in contemporary music. A keen collaborator whose projects have drawn on ambient, Fourth-world, electronica and modern classical influences, Eternal Spring is the first recording under his own name.\nEternal Spring, which features collaborators as diverse as erstwhile Portico Quartet band mates drummer Duncan Bellamy and bassist Milo Fitzpatrick, iconoclastic Polish artist Hania Rani, cellist Dobrawa Czocher and Australian mezzo-soprano Lotte Betts-Dean, draws inspiration from both Wyllie\u2019s love of verdant nature but also the idea of a constant, flickering sense of hope and his compositions balance elevating melodies and cyclical rhythms while unashamedly reaching for something hopeful and beautiful.\nUnsound\nUnsound focuses on a broad swath of contemporary music \u2014 emerging, experimental, and leftfield \u2014 that resists typical genre constraints. It has developed a reputation for identifying innovative scenes and radical sounds.\nUnsound New York first took place in 2010 with major acclaim from press and fans alike. The festival\u2019s broad remit to combine live events with club events, the known with the unknown, and to include a good number of under-exposed (at that time) Polish and Eastern European acts was a winner. The Sunday New York Times declared \u2018Hello, New York: Avant Garde Eastern Europe\u2019 with a full-page feature that included festival co-founder Mat Schulz noting \u201cThe fact that (Unsound is) coming from Krakow in a sense makes it more interesting. It\u2019s not what you would expect, and it makes a comment about the way that culture now doesn\u2019t necessarily come from these precise points you\u2019d think it would come from. That\u2019s what this festival is about as well: disrupting preconceived notions of a lot of different types, not only about what a country or a city is, or what cultural centers are, but also what music is and how different kinds of music can be connected. That\u2019s really at the heart of the whole enterprise.\u201d As well as spotlighting emerging artists, Unsound also commissions new shows and encourages cross-border collaborations, adapts and reimagines abandoned spaces for concerts and club nights, manages cutting-edge artists, and is known for its sound-inspired Ephemera perfume project. Unsound is also a platform, commissioning and releasing new music and books.\nUnsound is co-organized and co-presented by Fundacja Tone \u2013 Muzyka i Nowe Formy Sztuki and the Polish Cultural Institute New York. This project is co-financed by the Ministry of Culture and National Heritage of the Republic of Poland from the Culture Promotion Fund in partnership with the Adam Mickiewicz Institute. The main partner of Unsound Web KRK \u2013 NYC is the Polish National Foundation.Concerts at Lincoln Center for the Performing Arts are part of the Lincoln Center Presents Season. 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