Asa Horvitz

Asa Horvitz makes music and performances.

Originally trained as a composer/musician, he tries to create spaces in which the audience, confronted by paradox, begins to imagine for themselves. Drawing on seven years study of psychoanalysis and various ways of working with dreams, his current research is focused on the relationship between humans and images and the thought of Aby Warburg.

In 2019, Horvitz initiated the project GHOST along with Seraphina Tarrant (University of Edinburgh) and Alejandro Calcaño (AI Now), designed to disturb the imaginary surrounding Artificial Intelligence. The first version used live performance and music to open the structure of machine learning systems and play within them, and was shown at Microscope Gallery NYC in 2019. New versions responding to the use of AI in various specific locations internationally are under development, in collaboration with musicians Carmen Rothwell, Wayne Horvitz, Jaxyn Randall, and others.

Horvitz’s previous work has been seen across Europe and the US at venues such as The New Museum, Death by Audio, PRELUDE Festival, LaMama ETC (NYC), Living Arts Museum (Tulsa), CounterPULSE (SF), Teatr Polski (Wroclaw), Labirynt Gallery (Lublin), National Theatre Institute (Warsaw), Impossible Bodies Festival (NL), and in countless basements/DIY spaces. He collaborated with Scott Gibbons/Romeo Castellucci on “Go Down, Moses”, which toured major festivals worldwide (2014-2016). In 2017-2018 he participated in artistic exchanges in India, Indonesia, and Malaysia. He currently works with Grzegorz Reske/Marta Keil (ResKeil) on various projects.

Horvitz studied composition with Alvin Lucier and Anthony Braxton. As a musician he has performed with Anna Webber, Kalup Linzy, Julian Kytasty, Ben Seretan, Pavel Zustiak, Caroline Shaw, Wayne Horvitz and others members of his family, and dozens of others in the NYC underground and above-ground creative community. He leads the band VALES with Carmen Rothwell. For many years he was involved in medieval music and various forms of traditional singing including Sacred Harp.

Horvitz grew up in and around a Zen center in California and lead various projects experimenting with monastic life and artistic production, critiquing Buddhism in America, exploring Koan practice, etc. His work has been supported by The MacDowell Colony, The Camargo Foundation, NYSCA, CEC Arts Link, RSF Social Finance, The Goethe Institute / Hong Kong, Creative Europe, and a Fulbright Fellowship. He previously lived in Poland and New York City before coming to DAS.