Bio
Dganit Elyakim (b.1977, Tel Aviv) is a composer and sound artist, working across a broad spectrum of practices to depict various aspects of the human and digital paradigm. Exploring numerous artistic strategies that span from electro-acoustic, vocal, or chamber music through sound installation, video, and new-media work, her oeuvre attempts to reflect on philosophical, political, and ethical issues regarding the constantly evolving technologies. Elyakim studied composition at the Royal Conservatory in The Hague with Gilius van Bergeijk, Martijn Padding, and Clarence Barlow
To view full CV, click here
Photography: Uri Levinson
Interviews:
Listening To Ladies – A podcast by Elisabeth Blaire
Meeting the composer
an interview with Avigail Arenheim, Feb 2021
An Hour with Ophir Ilzetzky @ Halas (Radio broadcast, 1 hour)
7 Questions with Dave Foxall @ Jazz Noise
Experimental Israel @ Ophir Ilzetski, Halas (Radio broadcast, in Hebrew, 2 hours)
ליאור פרידמן – מאחורי הצלילים (Radio broadcast in Hebrew, 2 hours)
עומר ריטה – אוצר ישראלי (Radio broadcast in Hebrew, 2 hours)
Publications: Discography and articles
Failing Better, 2016
Album
Label: Aural Terrains
To listen to the album click here
[hosted by Ubuweb]
“Regardless of its critical or analytical potential, her music is immediate and punchy, a muscular tussle with algorithms clenched and combative”
Julian Cowley, The Wire, July 2016, Issue #389
“Failing Better, a paraphrase on Samuel Beckett … is full of humor, provocative sonic inventions, and inventive usage of conventional instruments and vocals”
Jan Faix @ His Voice in Czech / translated to English
“Highly original and always inventive.”
Eyal Hareuveny @ The Free Jazz Collective
“ She appears to be a rare case of “jack of several trades, master of most of them””
Massimo Ricci On the Squid’s Ear ||||| as .pdf
One On 1.1 for recorders, performed by Inbar Solomon:
Una Folia Antiqua Nuiva – Early and Ccontemporary Folias, 1500-2021
To purchase a copy, click here
“‘… the unearthly textures on Dganit Elyakim’s One on 1.1 for recorders and electronics are addictive to listen to. Effects such as playing back recorded samples become magical sounds and the moment when layers of harmony unfold over each other gives goosebumps. “
Sarah Jeffrey, Blokfluitist magazine , August 2023 (English translation)