Bgerosani
Savage Simulacra
Bgerosani released a new audiovisual piece called Savage Simulacra on 17 August 2025. The work brings together live performance, composed music, electronics, and video. It doesn’t fit neatly into one category, but it shows how he works across media rather than sticking to a simple track release.
The project was put together and recorded in Geneva, Switzerland. Bgerosani wrote the piece, handled the electronics and the video work himself. He also worked with two oboe players Vicente Moronta and Ricardo Ribeiro whose parts are run through amplification and used for texture rather than traditional melody. The audio was mixed by Arturo Corrales. For the visuals, he used personal recordings and AI-generated elements from Heygen and Runway.
The music doesn’t sit in one obvious genre. Some parts draw on ideas found in contemporary experimental work, including repeated patterns and less conventional timbres. The oboe parts avoid standard playing techniques and instead focus on multiphonics and rhythmic variation. There are also sampled zurna sounds, a traditional Middle Eastern wind instrument — that come in at points and change the feel of the track.
The project was put together and recorded in Geneva, Switzerland. Bgerosani wrote the piece, handled the electronics and the video work himself. He also worked with two oboe players Vicente Moronta and Ricardo Ribeiro whose parts are run through amplification and used for texture rather than traditional melody. The audio was mixed by Arturo Corrales. For the visuals, he used personal recordings and AI-generated elements from Heygen and Runway.
The music doesn’t sit in one obvious genre. Some parts draw on ideas found in contemporary experimental work, including repeated patterns and less conventional timbres. The oboe parts avoid standard playing techniques and instead focus on multiphonics and rhythmic variation. There are also sampled zurna sounds, a traditional Middle Eastern wind instrument — that come in at points and change the feel of the track.
The video uses a wide range of visual material. Bosch’s Garden of Delights is referenced in the looping imagery, but the piece isn’t trying to explain or re-enact that painting. It puts images and sound together in a steady sequence, putting them side by side so viewers experience them without a clear narrative guiding them.
Bgerosani says the work reflects how we see and hear things now, with constant streams of images and sounds in everyday life. The piece is not meant to be taken as a political or ideological statement. Instead, it works through repetition and variation to highlight how content accumulates over time. The focus is on presenting material in a way that doesn’t push one message but leaves space for the viewer’s own response.
He recently performed the first part of his seven-part “Paskundji” live set in Georgia. Next year he plans to present the next sections in Tbilisi, Berlin, and at Columbia University in New York.
Bgerosani says the work reflects how we see and hear things now, with constant streams of images and sounds in everyday life. The piece is not meant to be taken as a political or ideological statement. Instead, it works through repetition and variation to highlight how content accumulates over time. The focus is on presenting material in a way that doesn’t push one message but leaves space for the viewer’s own response.
He recently performed the first part of his seven-part “Paskundji” live set in Georgia. Next year he plans to present the next sections in Tbilisi, Berlin, and at Columbia University in New York.