Daniela Seitz's curatorial practice lies in the in-between spaces that connect art and music with social questions. As co-founder and artistic director of the Berlin-based interdisciplinary platform Creamcake, she is navigating the point of convergence in electronic music, contemporary art, and digital technologies. CC organizes exhibitions, performances, concerts, new commissions, DJ sets, publishing projects, and symposia, and workshops. These include the annual 3hd Festival, Is it cold in the water?, Paradise Found, インフラ INFRA, Europool, <Interrupted = “Cyfem and Queer>, and the Chronologies of Creamcake anthology, among many others. As a queer-feminist nomadic space, CC has collaborated with a variety of clubs, community spaces, and institutions, including but not limited to Berghain, Berlinische Galerie, HAU Hebbel am Ufer, Gropius Bau, Klosterruine, OHM, RSO, and Südblock. 

DJ Larry’s sets are intended to create human expression transformed into an absurd spectacle of sound, with linguistic elements that do not communicate but are aimed instead at raw emotional effect. Larry is co-founder of Creamcake.

Annie Yen-Ling Liu is Associate Professor of Music History, researcher, and PhD advisor at Peking University (Beijing, China). Dr. Liu is the author of A “New Athens” in the Nineteenth Century: Franz Liszt and the New German School (Southwest China Normal University Press) and An Only-Sound World: The Historical Aspects of Pure Music and Ontological Thinking of Sound (Peking University Press, forthcoming in 2026). Her research and teaching embraces music of both the Western and non-Western traditions, centering principally on German symphonic music from the eighteenth century to the late nineteenth century, experimental music after 1950, and contemporary Chinese electroacoustic music. Dr. Liu taught at Soochow University and has also lectured on traditional and modern Chinese music as a visiting professor at the Université Grenoble Alpes (Grenoble, France). Prior to these positions, she taught at the University of California at Santa Cruz and in the Graduate Institute of Music at the National Yang Ming Chiao Tung University (Taiwan). She was the guest editor for Organised Sound. Currently, she is the Regional Editor for East Asia for Organised Sound (Cambridge University Press) and the board member of Electronic Music Foundation, EMF Institute.

Colin Chinnery is co-founder of Sound Art Museum in Beijing. Deeply involved in Beijing’s art and music communities since the 1990s, Chinnery was the lead singer of Xue Wei, one of China’s first alternative rock groups, from 1992 to 1994. He went on to study Chinese language and civilization at the University of London’s School of Oriental and African Studies (SOAS), graduating in 1997. After working for the British Library’s International Dunhuang Project in London, he returned to Beijing in 2002. He has since worked as a curator and artist, exhibiting widely in China and around the world. His conceptual practice generally takes the form of multimedia installations, often focused on sound. As curator Chinnery was Director in 2009 and 2010 of ShContemporary Art Fair in Shanghai, and between 2006-2008 he was Deputy Director and Chief Curator of Ullens Center for Contemporary Art (UCCA) in Beijing, playing a central role in setting up China’s first major contemporary art institution. As an art writer, Chinnery was contributing editor for frieze magazine between 2014-2021. In 2020, with his partner Hong Feng, Chinnery started building Sound Art Museum, the world’s first physical institution focusing entirely on sound. The museum opened to the public in 2023.

Zheng Ke (b. 1992) is an artist whose practice includes sound, moving image, and installation. His work often explores unpredictable and suspended boundaries and states of perception through sound and image. He is fascinated by the study of otherworldly sensory imagery that emerges from the urban night hinterland and from everyday scenes, and by the eerie emotions that appear clearly yet incongruously within the new weird. In his work, sound functions not only as a medium but also as a residue an imprint imbued with materiality. Through a combination of auditory, visual, and material effects, he distances and reconstructs commonplace objects and the emotions that arise instantaneously within familiar scenes, breaking their original forms and inherent constraints to generate feelings of strangeness and dismay. In recent years, Zheng has extended his practice into sound lecture performance, which he conceives as a nomadic mode of writing— constructing fluid structures between text, sound, and narration to generate unstable sites of storytelling and to explore the tension between fiction and non-fiction. Zheng's works have been exhibited at institutions such as the Rockbund Art Museum (Shanghai), X Museum (Beijing), and MACA Art Center (Beijing). In 2024, he was recognized as a "Future Great" by ArtReview China.