Biography


annabwAnna Friz is a radio, transmission and media artist and media studies scholar. Since 1998 Anna has predominantly created self-reflexive radio for broadcast, installation or performance, where radio is the source, subject, and medium of the work. Her compositions for theatre, dance, film, installation, and solo performance reflect upon public media culture, environment and infrastructure (human and extra-human, acoustic, and electro-magnetic), time perception, and various fictions.

In the autumn of 2015 she joined the Film and Digital Media department at University of California Santa Cruz as Assistant Professor of Sound. She  completed a post-doctoral fellowship at the School of the Art Institute of Chicago in the department of Sound (2011-2013), funded by the Fonds de recherche Québec – société et culture (FRQ). She earned her Ph.D. in the Joint Graduate Program in Communication and Culture from York University, Toronto in 2011; her dissertation is entitled “The Radio of the Future Redux: Rethinking Transmission Through Experiments in Radio Art.”

Her radio art/works have been commissioned by national public radio in Canada, Australia, Austria, Finland, Germany, Danmark, Spain, and Mexico, and heard on the airwaves of more than 25 countries. In 2011 she was nominated for a Dora Mavor Moore award (Toronto) and the Betty Mitchell award (Calgary) for excellence in composition and sound design for theatre, received 2nd place in the Prix Palma Ars Acoustica 2014, a finalist for the Phonurgia Nova Sound Art Prize in 2017, and winner of a Phonurgia Nova residency award in 2019. Anna is an itinerant member of the Toronto-based Public Studio collective, which together won the 2014 competition to create a new permanent sound installation in the Lee Lifeson Arts Park in North York, Toronto.

Anna has performed and exhibited widely across Canada, and at international venues and festivals such as Third Coast Audio Festival (Chicago, IL), Experimental Sound Studio (Chicago), PS 122 (New York, NY), AS220 (Providence, RI), Stanford University (Palo Alto, CA), the Fifth International Biennial of Radio (Mexico City), Sonorities Festival of Contemporary Music (Belfast, IE), Club Transmediale/ Bootlab (Berlin, DE), Tesla (Berlin, DE), TONSPUR (Vienna, AT), Art+Communication (Riga, LV), Von Krahl (Tallinn, EE), Ars Electronica (Linz, AT), Digitales (Brussels, BE), Radiophonic 07 (Brussels, BE), Observatori (Valencia, ES), RadiaLX (Lisbon, PT), Tsonami Festival de Arte Sonoro (Valparaiso, Chile), radioCONA (Ljubljana, Slovenia), and many others. Her work has been funded by the Social Sciences and Humanities Research Council, the Fonds de recherche Québec – société et culture, York University (Toronto), Concordia University (Montréal), Canada Council for the Arts, the Conseil des arts et des lettres du Québec, the Québec Delegation in Mexico, and the SOCAN Foundation.

Artist residencies in 2013-2014 include Deep Wireless Festival for Radio and Transmission Art, Toronto, Canada; Skaftfell Center for Visual Art, Seydisfjördur, Iceland; MGML Gallery Tobačna 001, Ljubljana Slovenia; Laznia Centre for Contemporary Art in cooperation with the Hel Marine Station, Gdansk, Poland; Liebig12 project space, Berlin, Germany; and quartier21 together with TONSPUR, Vienna, Austria.

Anna was a founding member of the research collective L.O.T.: Experiments in Urban Research at York University, Toronto. She is currently a core curatorial and steering member of Skálar | Sound Art | Experimental Music, based in east Iceland, run by a collective of practicing professional artists.

Anna is a Wave Farm/ free103point9.org transmission artist, and a long-time contributor to ORF Kunstradio, Austria.

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ONGOING WORK:

We Build Ruins: Umbrella title for a suite of pieces created from fieldwork in the Atacama desert in Chile from 2017-2022. Consisting of audiovisual, audio, and radio works, We Build Ruins reflects on landscape, infrastructure, and environmental change, exploring the micro and macro scales of human intervention and activity in harsh yet complex environments which occupy the space between urban sprawl and wilderness, and investigates the role of people (and artists) as agents in the myth-making and storytelling process which bring critique and create counter-narratives to those of progress and growth that propel unsustainable extractivist corporate and state-sponsored industries. Work in progress for We Build Ruins includes a feature-length radio art documentary entitled Salar, supported by a residency at GRM studios in Paris, and an experimental film. Past works include Radiation Day, the multi-channel installation Salar: Evaporation, and the short film about overburden piles produced by mining entitled We are surrounded by torta.

you, beloved: a radio art work created together with Amy Mihyang Ginther, Cynthia Ling Lee, and Gabriel Saloman; premiere broadcast for 12-12-12-12 project directed by Christof Migone in December 2020.

Embodied Radio Device/Solar Radio: created together with Absolute Value of Noise and powered by his design for the solar radio; Embodied Radio Device will be permanently installed at the Wave Farm in Acra, NY in spring 2022.

RECENT WORK:

Sound, Signal, Conductor (2014-2018): series of works originating in Iceland, utilizing extending approaches to recording, re-playing and filtering sounds through the landscape and built environment. Also using pinhole and digital photography to create stills and stop motion video. Yielding weathered copper artifacts, installation works, suitcase transmitters, and undertaking performative actions which sonify structures and electro-magnetic space in situ. Funded by Canada Council for the Arts. Including Aftergrain, a solo installation at SITE, a gallery occupying the industrial space of a former rice silo complex in Houston, Texas; and Echophone, a radiophonic installation commissioned by Radius Chicago for the Museum of Arts and Design in New York.

Radiation Day (2017-2018): audio visual performance and installation works stemming from research in northern Chile, along the industrial continuum. Radiation Day (with visuals by Rodrigo Ríos Zunino) premiered at Ars Electronica’s Big Concert Night 2017.

The Joy Channel: with Emmanuel Madan. The final iteration of our radio art/radio play /speculative fiction piece about the state of radio in North America 150 years in the future. Finalist for the Phonurgia Nova Sound Art Prize in 2017. Released on IO SOUND in 2018.