bio
Dasha Rush transforms the powerful forces of nature into emotion-driven sound pieces. Whether it’s her
curiosity for astrophysics, fascination with extreme natural phenomena or the deepest desires of the human
psyche, Dasha threads together her wildest dreams with many-layered dense techno, visual explorations and
performative art. The Berlin-based producer, experimental sound artist, and DJ is known for her collaborative
experimental projects performed at today’s most forwardlooking playgrounds for music and digital culture.
She counts festivals such as Montreal’s Mutek, Ars Electronica in Linz, L.E.V. Festival in Gijón, MIRA in
Barcelona, TodaysArt in the Hague, Tokyo’s Resonanz, Open Source Festival in Sopot, O Musica Danza Arte
Terme di Diocleziano in Rome, Berlin Atonal, and CTM among others in her repertoire.
She is also a regular behind the DJ decks and extensive live set-ups of the worlds sweatiest pulsating dance
floors. Tresor, Berghain, Fabric, De School and many other dark spaces have seen Dasha tearing the crowd
apart. Both as her solo project and in live improvisation acts as a half of LADA (a duo with Lars Hemmering)
or one third of Attention Deficit Disorder (Dasha Rush and AnD) Dasha has played her hardhitting raw techno
sets at festivals such Labyrinth, Awakenings, Dekmantel, Mutek, Astropolis, Rainbow Serpent among the
others.
Along with her tireless commitments to touring and interdisciplinary collaborative projects, the artist also held
a Convergence Residency at the Banff Centre for Arts in Canada, and has participated in the curatorial board
at 4DSOUND, Budapest’s Spatial Sound Institute that also expanded to MONOM in Berlin in 2017.
Dasha started DJing in the early 90s, and debuted as a producer in 1998 with her first tape release. Living in
Paris between 1996 and 2009, the Russian-born artist was also composing for small independent dance and
theater performances and installations. Her first solo EP came out in 2004 on Huger to Create (the
experimental sub-label of her imprint Fullpanda where she started to release her own music in 2005). In the
following years Dasha kept shaping her poetic sound into fulllength player on influential imprints Raster-Noton
(Sleepstep, 2015) and an EP on Sonic Groove (Sonic State, 2010). On Fullpanda, Dasha has released
material of her like-minded peers Stephanie Sykes, Donato Dozzy, Yuka, Stanislav Tolkachev among others.
While expanding her cross-dimensional portfolio, Dasha collaborated with dancers, painters, and video
artists, always directing her vision supported by the craft of the other artists. In 2014, Dasha envisioned an
audiovisual performance Antarctic Takt, a fantastic journey to the southernmost point of the Earth —
Antarctica. Antarctic Takt was directed and composed by Dasha Rush and realized with the technical
expertise and creative programming of videographer Stanislav Glaszov. It was originally developed for the
Berlin Atonal festival 2014 in Kraftwerk in Berlin. With Antarctic Takt Rush intended to realize a tangible
immersive experience and include an arrangement of architectural elements as well as water and ice
structures that would grow on the concrete walls of Berlin’s former power plant. Due to production and
transportation constraints the visual part was reduced to a large screen version combined with Dasha’s live
electronic score, which was further showcased around the world at diverse multimedia festivals including
Mutek, Ars Electronica, L.E.V. Festival, Resonanz, Auditorium (Peru), and Volt Festival (Sweden) among
others.
Pushing against the physical limitations, Dasha and Stanislav developed a 360- degree panoramic version
presented at the Alexandrinskii Theater during the New Media festival in St.Petersburg. Finally, after three
years of development, Antarctic Tact was realized as its most immersive embodiment — a full-dome version
where a viewer can experience a 3D journey to breathtaking Antarctica. The simulation, generated with
Touch Designer software, is a real-time multimedia content inspired by a fascinating and hostile pristine polar
desert and is combined with a powerful live electronic score.
In June 2016, the musician presented her second audiovisual journey at the Mutek festival in Montreal, with
her creative direction again supported by Glazov’s technical craft. Dark Hearts of Space is a deep-listening
performance and fearless dream of a one-way trip towards a black hole. Like the gravitational effects of this
extreme and fascinating space phenomenon, Dasha’s score for the piece is so strong that nothing — including
particles of sound or light — can escape from inside of it. Dasha’s initial idea was to create a real tunnel
where a visitor could experience gravitation and low frequencies and feel as if being sucked into a black
hole. For the time being, the performance is also realized as a real-time digital simulation and the artist are
looking for possibilities to create a more interactive tactile experience with Dark Hearts of Space.
Dasha’s latest attempt to bridge music, experimental theatrical performance, realtime generative
visualization, and abstract poetry resulted in Territoires Éphémères, a project that premiered at Funkhaus
Berlin in April 2018. Dasha conceptualized this piece, created music and cinematic visuals. Together with
butoh dancer Valentin Tszin she directed the choreography for Territoires Éphémères, while Stanislav Glazov
programmed and played generative visual content for the piece. Territoires Éphémères interpret the fragile
realms of the psyche, such as the inconsistency of the memory, physical and mental frictions, and relativity of
perception. The overarching idea of the performance refers to transitory audiovisual matter not meant to be
retained or preserved. Opposed to conventional art objects and artifacts fixed in time and space such as a
painting, music album, or film, their performance explores the idea of art ‘jetable’ (fr.) — an art piece that
lives one day and cannot be repeated or conserved. Territoire Éphémères can only be experienced here and
now.
Pushing against the physical limitations, Dasha and Stanislav developed a 360- degree panoramic version
presented at the Alexandrinskii Theater during the New Media festival in St.Petersburg. Finally, after three
years of development, Antarctic Tact was realized as its most immersive embodiment — a full-dome version
where a viewer can experience a 3D journey to breathtaking Antarctica. The simulation, generated with
Touch Designer software, is a real-time multimedia content inspired by a fascinating and hostile pristine polar
desert and is combined with a powerful live electronic score.
In June 2016, the musician presented her second audiovisual journey at the Mutek festival in Montreal, with
her creative direction again supported by Glazov’s technical craft. Dark Hearts of Space is a deep-listening
performance and fearless dream of a one-way trip towards a black hole. Like the gravitational effects of this
extreme and fascinating space phenomenon, Dasha’s score for the piece is so strong that nothing — including
particles of sound or light — can escape from inside of it. Dasha’s initial idea was to create a real tunnel
where a visitor could experience gravitation and low frequencies and feel as if being sucked into a black
hole. For the time being, the performance is also realized as a real-time digital simulation and the artist are
looking for possibilities to create a more interactive tactile experience with Dark Hearts of Space.
Dasha’s latest attempt to bridge music, experimental theatrical performance, realtime generative
visualization, and abstract poetry resulted in Territoires Éphémères, a project that premiered at Funkhaus
Berlin in April 2018. Dasha conceptualized this piece, created music and cinematic visuals. Together with
butoh dancer Valentin Tszin she directed the choreography for Territoires Éphémères, while Stanislav Glazov
programmed and played generative visual content for the piece. Territoires Éphémères interpret the fragile
realms of the psyche, such as the inconsistency of the memory, physical and mental frictions, and relativity of
perception. The overarching idea of the performance refers to transitory audiovisual matter not meant to be
retained or preserved. Opposed to conventional art objects and artifacts fixed in time and space such as a
painting, music album, or film, their performance explores the idea of art ‘jetable’ (fr.) — an art piece that
lives one day and cannot be repeated or conserved. Territoire Éphémères can only be experienced here and
now.
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