photo Valentina Muscedra
With a background in art history, Gea Brown approaches to Djing by researching different musical
currents in a constant intersection of history and present.
Since she is a collector of Charlemagne Palestine's music creations, in her sets the drone music
and the American minimalism of the 60's get in dialog with the sonorities of the recent electronic
and electroacustic music.
She reveals an eclectic approach by picking up also on classical music, Folktronic and tribalism,
with a new interest for the vocal element coming from spoken word and sound poetry.
Since 2010 Gea Brown has been part of the duo Alpin Folks which is carrying on with an audiovisual
project marked by the union of drone and techno music.
She has edited performance soundtracks by artists, dancers and designers.She collaborated with
Radio Papesse, Datscha Radio, IUAV, International Feel.
GEA BROWN | dj set |
CLASSICAL & CONTEMPORARY STUFF II | dj set
dj set realized by selecting music from the catalogue of Radio Papesse
GEA BROWN | sonorization
Red & Black Submarine I
created for the Robert Pettena's site-specific installation at the Madeinfilandia 2012
GEA BROWN | soundtracks / live set
Soundtracks for artists video projects in form of live sets with video projections
video: Veronica Citi
live sound mix: Gea Brown
Havanalogica is a project by Gea Brown and Veronica Citi, a videomaker and photographer who,
in 2010, spent several months in Cuba in order to attend a documentary workshop at the Escuela
de Cine. About that trip a series of images and videos remain; they are irregular but all of them
similarly try to understand Havana, the pulsating heart of a complicated country, a surrealist,
socialist island searching for its identity; searching for a way to escape its political and economic
Nothing else is RAW
video: Robert Paine
live set: Gea Brown
This project, which also becomes a game of masks and double identity, arises from the
collaboration with an English artist who has been living and working in Florence for several years.
By lending unassamble and not post-produced videos (such as HD and iPhone videos) to
sonorization work they show that first “raw” state of the artistic work which is generally
inaccessible. If on one hand the whole work of an artist, which includes video, photo, performative
interventions and site-specific projects, catches the hostile, incongruous and poetical aspects of
reality, on the other hand the vision of such miscellaneous, “raw” material returns an even more
alienating glance at reality thanks to a random editing accompanied by musical speeches which
follow its evolutions step by step.