Holder of a Master’s degree in Information and Communication, Gauthier Keyaerts is an artist who’s keen on social sciences. Semiology, psychology, anthropology, philosophy, among others, are disciplines that make one’s perception particularly sensitive to oneself, others, and society at large. These problematics and questions have always been closely linked to Gauthier’s research in sound, which originally started on Radio Campus Bruxelles, where he explored (DJ-ing, sound art as well as real-time hörspiel). There, he also had the opportunity to meet and become friends with Robin Rimbaud, Matt Elliott and David Shea… artists who were in direct link with the label which would later release his first electronic compositions, Sub Rosa. There he released four albums as half of the Bump and Grind / BNG duo, two solo albums (as Very Mash’ta), and remixed or collaborated with artists such as Freeform, AtomTM, OM1 (Kompakt) or Norscq. Mick Harris, Speedy J and Christophe Monier (Micronauts) remixed him in turn.

After these intense and productive years, Gauthier took a step back and decided to widen his horizons, finding a crucial piece to his personal puzzle after meeting and collaborating with visual artists Natalia de Mello and Thomas Israël. Sounds and images interacted, and then turned into installations before becoming inter-disciplinary performances. Voice later got added to the mix, with (among others) Margarida Guia (who collaborated with Serge Teyssot-Gay) or poet from Québec Jean-Marc-Desgent.


Gauthier Keyaerts’ first installation, L’œil Sampler, saw the light of day in 2011; a search for sound vision, concrete sound, or the object turned into a music broadcasting tool.

Then came a tribute to counter-cultures in the twentieth century, (an-ART-key), as well as a poetic vision in sound of the Belgian town of Huy (Par Huy dire), both in 2012, before Fragments #43-44, in 2013.

During this time Gauthier Keyaerts also performed live on stage, whether solo (under the names The Aktivist, Very Mash’ta, or Next Baxter), as part of bands or collectives (Supernova, 8/40), or more recently in collaboration with poets Jean-Marc Desgent and Annie Lafleur. His love of the stage took him as close as Brussels, Belgium (Botanique, Flagey), or France (Le Phénix in Valenciennes, La maison des métallos and La Gaîté Lyrique in Paris, Les Folies de Maubeuge, Les Bains numériques, Sonorama, Ososphère…), and as far as Spain (Dig@ran) or Québec (Printemps des poètes).





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