Nik Void is an experimental electronic artist and producer, best known as one half of DFA signings Factory Floor, as one third of Carter Tutti Void alongside Cosey Fanni Tutti and Chris Carter (Throbbing Gristle / Chris & Cosey).
Void’s interests lie in the development of unconventional encounters with her tool of choice – be it voice, guitar or modular synthesizer – engaging in a new language using extended techniques and cut up sampling. Her execution of sound, united with her “demystification” approach unleashes a pragmatic imbalance allowing the creation of space for ‘mistakes’ paired with aleatoric composition. As a result she blurs the lines of techno, ambient, avant-garde and noise into a new form.
The improvisational nature of both Factory Floor, Carter Tutti Void and her recent project with Peter Rehberg NPVR gives Nik Void the perfect platform to practice her challenging approach, delivering transformative interpretations of her studio recordings and not recreations.
In 2012 she took part in a year-long residency at London’s ICA where she curated performances that actively sit at the intersection between art and music. The three main events initiated for the residency were a live performance with visual artist Hannah Sawtell, Sonic Lumps; a live improvisational performance with New York composer Peter Gordon (Love Of Live Orchestra) and a visual improvisation with British musician, artist and composer Simon Fisher Turner for ArchLive.
In 2014 Void performed solo at Space-Time: The Future at Wysing Arts Centre.
In 2015 she took part in a two-week residency at London’s Barbican Centre with the British Artist Haroon Mirza for Station to Station, curated by Doug Atkins. This followed the success of a residency with Mirza at ‘Forget Amnesia’ on the Island of Stromboli, commissioned by the Fiorucci Art Trust and at NTS Radio in 2014, a performance based on former foundations at Art Basel and London Serpentine Gallery at Park Nights events.
In October 2016, Void was approached by foley artist Nicolas Becker and French artist Philipe Parreno to create a midi score for their Hyundai commission at Tate Modern. The midi score activated moving objects, speakers and controlled lighting, transforming the Turbine Hall into an immersive experience challenging perception of time and space.
She has exhibited sound pieces for site specific spaces in two group exhibitions in Switzerland: Corrupt File Audio | Raid Installation at Taylor Macklin Gallery, Switzerland, curated by Thomas Julier and Third Floor Audio ‘Cyan Yellow Violette’ – Einladung zur Eröffnung der Ausstellung Donnerstag.
Late 2017 saw the release of Nik Void’s collaboration with Peter Rehberg (founder of Editions Mego label, artist known as Pita and one half of KTL ). The duo’s project, NPVR, released their debut album ‘33 33’ via Editions Mego. Dec.2017. ‘33 33’ positions itself in the nebulous realm of contemporary (dis)comfort presenting itself on the border of music and sound, the social and the private.
Void recently completed an electroacoustic commission for this year’s Spitalfields Music festival with artistic curator Andre de Ridder’s and his orchestra collective. Under the title Renegade New Classical, Void’s composition Recollection Pulse was performed with Berlin orchestra S T A R G A Z E at Shoreditch Church, London and Muziekgebouw, Amsterdam.
Nik Void continues to collaborate with Swedish sound artist Klara Lewis, following their residency at Metal Gallery in Liverpool. Recent performances include the Liverpool Philharmonic, Black Box Teater, Oslo and Cafe Oto, London (which was broadcast on BBC Radio 3).
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