Ioana Vreme Moser (b. 1994) is a Romanian sound artist based in Berlin engaged with hardware electronics, speculative research, and tactile experimentation.
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Her practice uses deliberately rough electronic processes to extract different materialities of sound, placing components and control voltages in direct interaction with her body, organic matter, found objects, and environmental stimuli. From these volatile encounters, sound emerges as a carrier of personal narration and critical observation, tracing the histories of electronic technologies, their production chains, wastelands, and entanglements with the natural world.
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Amongst many others, she has performed and exhibited at
Ars Electronica (AT), ZKM Karlsruhe (DE), The National Gallery of Denmark (DK), Fonderie Darling (CA), CTM Festival (DE), Rewire Festival (NL), Akademie der Künste Berlin (DE), Vancouver New Music (CA), Manifesta 14 (XK), SFX - Alternative Space Loop (KR), Eigen+Art Lab - Transmediale, Berlin (DE).
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She is working closely with iii, Instrument Inventors Initiative (NL), Singuhr Projekte (DE), Obsolete Studio (FR-RO) & Simultan Association (RO).
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She has been teaching workshops and lectures, amongst others at: Studio for Creative Inquiry, Carnegie Mellon University (USA); HFK, Hochschule für Künste, Bremen (DE); Tangible Music Lab, Kunstuniversität Linz (AT); Royal Institute of Technology, Stockholm (SE); HEAD Genève (CH); Elektronischen Studios Hochschule für Musik, Basel (CH); BEK, Bergen Centre for Electronic Arts (NO); Universität der Künste, Berlin (DE).
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In 2025, she was double-awarded an Award of Distinction in the category of Digital Musics & Sound Art, Prix Ars Electronica for the work Mineral Amnesia and an Honorary Mention in the category Artificial Life & Intelligence for the work Fluid Anatomy.
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from other pens:
→ Is my Lipstick a Semiconductor? In conversation with Lottie Sebes for CTM Magazine
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"Ahead of showing her longtime research project »Arsenic Ballerinas« at the Echoes of Tumult exhibition, Vreme Moser spoke with the artist and researcher Lottie Sebes about the entwined lineages of cosmetics with sonic circuitry, toxicity, radio and wartime histories, and different shapes of femininity."
→ Wet circuits and techno-intimacy with Ioana Vreme Moser,
Interview with Chiara Pitrola for Fiber
"Ioana Vreme Moser’s practice reimagines machines as soft, visceral companions that breathe, leak, and pulse, drawing on rural Romanian DIY traditions and the overlooked history of fluidics to propose alternative, more embodied forms of computation."
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→ Form for Fluid Computer & bio article by Diane Pricop on OBSOLETE
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“Ioana Vreme Moser invites us to pause and be aware of the fragility of our existence. She encourages us to listen to and respect our own slow but stable rhythm, like that of a resilient nature.”
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→ Alexander Varty's on Screaming Minerals and Circuits, Stir Arts & Culture Vancouver, 2024
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''Romanian artist’s instruments are both crude and sculptural, starkly futuristic and whimsically odd.''
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→ Interview by Miron Ghiu for Revista Arta: Circuit Board Chic
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''The kinds of organic-electronic synesthesia and symbiosis that she creates, challenging her audience through interactive installations or performance pieces, almost always push the boundaries into this “grey” area of audio/video/tactile experimentalism. Having taken part in over 30 exhibitions and festivals over the years, starting with the Simultan festival, which made her famous, Ioana does not make the kind of art that you can’t understand if you don’t read the exhibition text.''​