Statement/
Sonic arts are produced from materials, phenomena and discourses.
Sonic arts, in turn, create materials, phenomena and discourses.
The sonic has to do with these three elements articulated in listening.
Articulations produce space-time.
Nature, culture and matter are co-implicated and cannot be understood in any way
other than through their entanglement1.
Thus, we keep finding co-implications, actual occasions2: precarious equilibria, atmospheric phenomena, manifestations of
human throats, electromagnetic fields generated by silicon chips.
These and other intensive flows3 of nature emerge catastrophically and creatively from a noisy energetic background,
which —occasionally— constitute the sonic.
1 Karen Barad
2 Alfred North Whitehead
3 Gilles Deleuze
"We are immersed in [noise] up to our necks, up to our eyes, up to the crowns of our heads, in a furious, wrathful ocean; better yet, we are through and through the voice of this hurricane, that thermal roar, and we know nothing of it."
Michel Serres
Biography/
Matías Serrano Acevedo (Santiago, 1993) is a sound and media artist. Master's in Media Arts (2024) and BA in Arts (Sound), (2017), both from the Universidad de Chile. Doctoral Fellow, PhD Program in Arts and Humanities, Universidad de Santiago de Chile (since 2026). He currently serves as adjunct lecturer at the Department of Visual Arts at the Universidad de Chile, where he co-founded Núcleo de Artes Sonoras, a sound art collective (2023). Since 2022 he teaches art, electronics and media in visual arts and design programs at UNIACC, UDP and the Universidad de Chile.
His work has circulated as installations, interventions and performances, sound compositions, electronic design, and other formats. Among his exhibitions, highlights include "Llluvia Metropolitana" alongside Rainer Krause (Galería Metropolitana, 2026), his participation with two works in the exhibition "Tiempo de decaimiento tardío" by Núcleo de Artes Sonoras (MAC, 2025), the project "Museo en estéreo" with María Ignacia Valdebenito and the MAC education unit (2024), the project "Amplificar la duda" (2024) with showings at MIM, Galería Micromedios and Sala Juan Egenau, and participation in collective exhibitions such as "Cuando todas las palabras sean borradas" (Galería de Artes Visuales UNIACC, 2025), "Islas de luz flotan sobre el pasto" (Galería Cripta, 2025), "Balmaceda Visual: Bordes Fluidos" (2024), and "XVI Premio MAVI-UC" (2023), where he received the audience award for the installation "La memoria contándole a la luz el sonido de la lluvia".
He has undertaken artistic residencies in Valparaíso (Festival Tsonami, 2017–2019), Medellín (Platohedro, 2019), King George Island in Antarctica under the project Utopías y Distopías de la Modernidad (2022), Brazil at the Soma RUMOR gathering (2021), Mexico City (Proyecto Error, 2024), Magallanes (Radicante, Liquen LAB, 2025), and Basel (DOCK Kunstraum, Archive, Ausleihe, 2026).
Between 2015 and 2021 he developed joint work with artist and designer Bárbara Molina in the Colectiva 22bits, dedicated to exploring the intersection of artistic disciplines, technology and gender issues. Together they developed devices for sonic experimentation and education, and created works that circulated through various gatherings, curatorial projects and festivals of sound art and technology. Their work with 22bits includes participation in the Festival de Arte Sonoro Tsonami in Valparaíso (2018, 2019), the gathering Toda la Teoría del Universo in Concepción (2018), the open call Sonido Específico at MAC (2017), the Concurso Matilde Pérez (2016), and the realization of the project Fondart Espectral: Escucha de un paisaje intervenido (2018). They collaborated with AOIR Laboratorio Sonoro, artist Constanza Alarcón-Tennen, sculptor Hugo Leonello and the Colectivo Sonido Cínico (ARG), as well as teaching workshops in various cultural spaces, including their own space Casa Oram, located in the Matta Sur neighborhood (2018–2020).
Under the alias misaa, he has released three albums: minor planets (2019), minoritario (Pueblo Nuevo Netlabel, 2020) and tres reconstituciones y un documental sonoro (Sello Medio Oriente, 2021). In 2019, simultaneously with the release of his first album, he co-founded Archivo Veintidós alongside Bárbara Molina, a record label he co-managed until 2024. His work has been included in compilations and festivals such as The Sound of Anthropocene (2024), Sumami (2019), Asimtria 15 – Pumpumyachkan in Ayacucho, Peru, and Porno Espectral III (2020), as well as various releases on the Núcleo de Artes Sonoras label.
