Gil is a sound and media artist whose practice is rooted in environmental and site-specific work. For the last seven years, he has conducted research on worldwide challenging landscapes, isolated rural communities, and extreme weather patterns. These include the African Sahara Desert (TWOM 2015), Canada Manitoba (Cluster 2016), the Rainforests of Brazil (Resiliência 2017), Siberia, Russia (Permafrost 2018) North Vietnam ethnic villages (Blind Signal 2019), and currently the Swiss Alps (La Becque artist residency 2019).
In 2016 he was selected by SHAPE platform, being commissioned by reference festivals such as MusikProtokoll (AU), Novas Frequências (BR), CynetArt (DE) Athens Digital Arts Fest(GR), ARS Eletronica(AU), Submerge festival(UK), Semibreve(PT), Lisboa Soa(PT). Being positively reviewed in the press by Berlin Art Link(DE), ORF1(AU), Musikworks (CA), NEURAL magazine (IT), The Quietus (UK), BoundBaw Science and Biodesign (JP).
Reference exhibitions include: ” Permafrost ” LAboral, Gijon; “BADaward – Biological Clocks of the Universe” – MU Art Center, Netherlands; “A grain within this cloud of Dust” – Gallery im Turm, Berlin; “ A perennial earth” – Goethe Institute Vietnam; “Harbour” – Living Art Lab, Amsterdam; “To bough and to bend” Bridge Projects, Los Angeles; “Fictional Forest” Triennal de Arquitectura, Lisboa.
He is the co-founder of “Rural Vivo”, a cross-disciplinary association dedicated to ecological, educational, and cultural activities in the UNESCO Gerês Reserve (North Portugal), whose main objective is to fight the loss of cultural opportunities in the Nordic rural villages, and innovatie on the ecological preservation of the region.
Among others he has collaborated with labels such as “Tzadik” NY, “Sonoscopia” Porto, “Ausland” Berlin.
“My intention is to examine the rich diversity of the Northumberland territory, creating a map of different locations, where I will be focusing on acoustic phenomena with a motivation to access the intangible qualities of the landscape.
I’m interested in using different technologies to examine selected parts of the region and hopefully contribute with a new form of engagement for local communities and researchers. These recordings will be the basis for studio work and the creation of new media Sculptural pieces, where I use both organic components and technologic ones.”