Tina Stefanou is an Australian-Greek artist based on Wurundjeri country in Wattle Glen, Victoria. She has been sharing her practice for the last ten years with and across many places including: Salt Museum in Istanbul, Kadist Gallery in Paris, the University of Music and Performing Arts in Graz, Austria, Paris College of the Arts, The Yellow House in Sydney, The Sydney Opera House, Stacks Projects, Carriageworks, The Ian Potter Museum, Blindside Gallery, Perth Institute of Contemporary Art, McClelland Gallery, MONA and the Australian Centre of Contemporary Art. She has a BFA from Sydney College of The Arts and First Class Honours from the Victorian Collage of the Arts, University of Melbourne where she is also a PhD candidate.
For Cementa22 an aggregation of live voices line up in the streets. They fill the air with a hum. This hum unravels through multiple bodies creating signals within and beyond the geography of the place. This moment is broadcasted into air waves, to out-of-bound places where bodies cannot cross. Disrupting the borders between public and private, audience and performer, the commons and the undercommons, before and after. This is a material–immaterial collective action of mark-making through voice that remains stored in the material bodies of the mammalian, the geologic, and abiotic for as long these bodies exist, for as long as they hum. Supported by the Marten Bequest Scholarship.
As a means to seek more inclusive ways of making and to frame tangled relationships, Stefanou engages in multispecies performance with a family of local others, friends not-yet-made, and poetic meetings of matter. With a background as a vocalist, she works undisciplined, across a diverse range of mediums, practices, approaches and labours: an embodied practice that she calls voice in the expanded field. Informed by Greek diasporic experiences, Stefanou engages in sound as social practice and explores with and beyond the human and more-than-human voice. This manifests through moving images, performances, installations, improvisations, live actions, conversations, vocal encounters, workshops, music, songs, writings and sculptural invitations. Her collaborators include places, communities, her grandmother, children, musicians, and animals, all involved to playfully disrupt and transform hierarchies of language, elitism and human exceptionalism.