SoundBleed

A listening – integrating live sound performance and sound installation

SoundBleed supports artistic development through peer and practice-led exchange, public presentation and the creation of opportunities for artists to encounter each other’s work and broaden their networks.

The event brings experimental improvisation, absurdist avant-garde performance, and contemporary arts practice, together with exhibited sound work, in a live listening scored by artists associated with Bradford Sound Women Network.

“The evening was Blissfully serene”

“a remarkable and indescribable experience“

Installations, assemblages, and material traces from the evening will remain exhibited in situ for viewing for up to 4 weeks post event, venue permitting.

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SoundBleed |first iteration, 17th April 2026

Photographer & Videographer | Jannat Iqbal

PERFORMERS

Malin Arnedotter Bengtsson presents ‘Musslan’ a contemporary absurdist performance exploring themes of displacement, loneliness and belonging told from the perspective of a homesick mollusc – with a side-eye at how climate change is affecting the ecosystem on the Scandinavian coasts of Norway and Sweden.

Soprano-improvisers Milana Sarukhanyan  & Valentina Diaz share their experience of bonding as two immigrant women who came to the UK in search of freedom of expressing their art. With themes of migration, assimilation and acclimatizing through a feminist audition.

Gilank provide atmospheric sonic scenery through improvised glitching, dramatic soundscapes and echo tonality. Its scratch – what unfolds is a symbiotic, esoteric response between the duo making each performance uniquely scored by the moment.

EXHIBITORS

Tallulah Lilburn-Quick

Sounds of Britain 1978 – 2008

2026

Tallulah Lilburn-Quick exhibits 30 years of archival material in a sonic documentary that allows us to position time as a point of reflection, analysing cultural shifts and repetition through the auricle of intentional listening.

Ryoko Akama

Amity

2016

Ryoko Akama’s sound installation sculpts domestic appliances and scrap wastes with invisible energy, to create kinetic, incidental minimalist sounds that attune the ear and magnify silences.

Cat Scott

The Abyssal Glow

2018 / 2026
Cat Scott’s reworking of her fluid sculpture sits on the border of the hyperreal and surreal as it invites us to contemplate placement, scale and the human experience through soundscape.

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SoundBleed | second iteration, 17th July 2026

Photographer & Videographer | Jannat Iqbal

PERFORMERS

Loomeweight, are operatic duo Patricia Auchterlonie & Hestor Dart who build rhythmic, percussive beats out of the repetitive shuttle or treadle of weaving. They blend recorded oral history with vocals that emulate and expand upon traditional worker song.

Rachael Dennis combines live choreography and improvised movement in a mirrored disco-ball sound suit, creating a symbiotic call-and-response performance that unfolds through live sound and musical experimentation.

Experimental accordionist Valerie Barr combines improvisation and extended accordion techniques to create a structural, responsive performance that moves between composition, sound art and live collaboration.

EXHIBITORS

Claire Kearns

Salt

2026

Claire Kearns transforms a personal archive into a sculptural form that mourns the fragility of home and belonging from within a paper sound-wendyhouse made from thirty years of pulped text, documents and legal correspondence, where fragments of voice and sound emerge as a keening for loss, grief and memory.

Delilah Sykes

On Voids

2022

Delilah Sykes moving-image archive of silence and ‘nothings’ are documented as a way to examine deep human truths, presenting an intimate world that explores presence and non-presence as a way to understand love, loss, and the often amusing nature of our world.

Setareh Mofidi

Coastal Notes: Bridlington in June

2026

Setarah Mofidi’s soundscape of composite stereo  field recordings  alongside contact mics and close-recorded textures such as drizzling sand from the East Yorkshire coast,  invites listeners who have not experienced this environment to imagine themselves at the shoreline, immersed in its shifting textures of birds, waves, wind, sand, and water.

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“It’s great that events are happening in places in north England. It’s inspiring that Bradford has a crowd to support such sound events.”

“It was really inspiring to perform in the day festival where all participants are women and marginalized genders – it really felt like a safe space where we felt seen and heard.”

“We loved the radical lineup and combination of performance, music and installation, where we were also able to improvise with an international performer whom we have not met before. This is new territory and we found that we would love to do more of it!”

“There are no opportunities that we know of in the district that enables this so I feel very lucky to be able to do this locally.”

“The discipline I work in is very formulaic and constrained. It is important to have opportunities like this to experiment ideas and push boundaries with a test audience to develop my own practice”