About

Kadet Kuhne (they/them) is a sound and visual artist engaging community through interactive, immersive and performative works. Taking form in video, installation, interactive sound, AR/VR, 3D printing, and 2D print. Kadet’s work aims to prompt visceral responses to the invisible forces that impact and connect us. With a digitally manipulated aesthetic contrasted by ambient spaciousness, Kadet explores our digital nervous system, our human possibility, and the network of ecosystems we live in. Kadet leverages their knowledge of emerging technologies to build transformative and immersive worlds and experiences beyond our own.

Kadet’s works have been presented internationally at venues such as: Museum of Art Lucerne, Society for Art and Technology (Montreal), Sonar Festival (Barcelona), Mutek (Montreal), GIASO Network Music Festival (France), Villa Arson (France), Sound//Space Gallery (London), Antimatter Festival (Toronto), niu: espai artistic contemporani (Barcelona), Madame Claude (Berlin), and select national venues: Sundance, Hammer Museum, LACMA, REDCAT, Torrance Art Museum, LACE Gallery, Outfest, SFMOMA, YBCA, De Young Museum, SOMArts, Soundwave SF Festival, Crossroads Film Festival, SFEMF, Fort Mason Center for the Arts, Shapeshifters Cinema, and Aggregate Space Gallery, where Kadet’s most recent solo show was exhibited.

Collaborative, community involvement is integral to Kadet’s art practice. Kadet has served on the screening committees for Sundance and Frameline LGBTQ Film Festivals, and on the boards of Mediate Art Group, San Francisco Electronic Music Festival, and San Francisco Cinematheque. Kadet’s work engages the expertise and involvement of artists locally and internationally, developing projects with artists including Alba G. Corral, Suki O’Kane, Gregory Dawson, mem1, and Mary Franck. 

Kadet’s most notable awards and residencies include: Alternative Exposure Grant from Southern Exposure, SECA Nominee Award SFMOMA, Can Serrat Visual Arts Residency Award (Barcelona), STEIM (Amsterdam), and Forward Slash Story residency for digital creatives (Kenya). Their 2021 short film Sym was awarded Best Sound and First Runner Up at Aggregate Space’s International Animated Shorts Festival. 

Kadet received a Master’s in Integrated Media and Music Composition from the California Institute of the Arts. Notable independent filmmakers Kadet worked for include Cheryl Dunye, Sam Green, Silas Howard, Jenni Olson, Nao Bustamante, and Tina Takemoto. Kadet’s collaborative relationship with internationally renowned artist Cassils dates back to 2009, designing sound for their multichannel sound installations, video installations, and live performances, including live sound design for Inextinguishable Fire at the National Theater in London in 2015. Kadet has designed and composed sound for all genres of media, with interactive media clients including Electronic Arts, Google, Disney, Telltale Games (Walking Dead, Batman, Minecraft, Guardians of the Galaxy). Konami, Mattel, and Infosys.

From a long-standing tradition of avant-garde filmmaking and improvisational music composition, I see my work as an extension of experimental practice in an age of hyper-communication and digital saturation. Prompting erratic and discursive thought patterns and emotional responses, my digitally manipulated aesthetic, contrasted with ambient reflection, is intended to heighten tensions between motion and stasis: a balanced, yet heightened “nervous system” to reflect our own.

Sound and image physically interact with our bodies’ molecules and stimulate neurological responses. I am interested in the nerve stimulus that causes our initial physical reactions, and in transforming these reactions into immersive works. Physical expressions can be transferred into images through digital media, which in turn can be translated into audible frequencies. A deep exploration of technologies are executed with precision to captivate viewers’ visual and auditory senses and create an intimate world within each piece.

Through my interactive, immersive works I seek to stimulate the viewer’s brain by composing synthetic stimuli to form somatic experiences which can prompt visceral, even pre-verbal emotional and physical responses to sound and movement. Comprised of intervals, disjunctions and suspensions of space-time, the situations presented in my experiential narratives attempt to capture, play and delay—from anxiety to resolve. Between pain, pleasure, the erotic, and the political, this tension morphs into another state, imbued with textures of self-imposed and societal boundaries and bondages.

In each of my works I hope to open for the individual viewer an expanded sense of the possibilities and realities of their own bodily existence, and interconnectedness to others, through a series of physically and emotionally sympathetic responses.

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