Thresholds was aired on February 1st 2026, as part of the Monteaudio25transition International Festival of Sound Art
From January 26, 2026 we will program more than 100 radio works, sound creations by sound artists/oss who submitted to the international, public and open radial call of the year 2025.
participating artists:
Alejandro Casales- Alexandre Fenerich- Ana Lopez Sandoval – Ana Montenegro – Andrés Asia NoNoise 79- Anthony Carcone- Permanent Assembly of the Drone – Belén Muñoz Berthet- Benoit Bories – Cristina Canedo & Léa Roger – The Ruidas ( Alejandra Canelas & Rodrigo Mansilla ) – Carlos Macheratti – Cesar Bernal – Chaerin Do – VorticeX – Charlotte Adams – Collective Refluxus – Miguel Antonio Contreras Hincapie – Dani Vera – David Adam – Fabio Manosalva – Fernando Rosa – Frederico Pessoa – Glacier Frontier – Gabriela Spinelli – Giovana Erthal – El Masmore – Jesús Alfaro – John Roach – Joyce Jandette – Linhs Salinas Usquiano – Lucía Iturria – Luciano Perrone – Luigi Morleo – Bruittx – Luis Marisquirena – MarcosGonçalvez Pereira – Matias Gustavo Correa Melissari -Estefania Salas Ramirez – Lucía Mondragón Vincent – Sebastian Navarrete Alejandre – Ana Valeria Medina Flores – Miguel Meléndez – Nancy Rodriguez – Nandy Cabrera – Nelson Tirelli – Pablo Bas – Paula Daniela Bogotá – Paz Tornero – Pedro Lucas – Raquel G. Ibáñez – Regiment – Noise (Martín Remiro, Natalia Recabarren) – Rocío Bald – Rodrigo Ramos – Rudimencial – Ryzoma – Rocío Maulen – Elisabetta Senesi, Ilaria Palloni – Silvio De Gracia – Sofia Zeta – SomaLab – Symi – Rafael de Toledo Pedroso – Victoria Sarasúa – Sound Villa –
About Thresholds:
Thresholds is a 67 minute stereo mix of an 8-channel sound installation. The composition is part of the suite of works called Scorched Honey Archive that emanated from eight beeswax speakers installed throughout a cavernous 18,000 square foot gallery at BioBAT Art Space in Sunset Park Brooklyn. The primary source is the sound of burning honey dribbled onto the 37 steel plates. These crackling and hissing sounds suggest disappearance, barrenness and decay – which is something we can count on if our pollinators perish.
Pollinators enter the scene to accompany the sporadic sizzle of honey on steel. You will hear these non-human actors flying solo, in dense clouds, or doing what they do inside the hive – occasionally reminding you to pay attention. You will also hear the sonic evidence of human impact, for example the crackle of electricity recorded from overhead power lines, a truck, or an occasional airplane.
The work is created to occasionally disappear into the room, to combine with the architecture.
Our existential problems can be easy to ignore.
