Ali Latif-Shushtari (1990, Iran) is a composer and artistic researcher living in Switzerland. His work explores how artistic meaning comes to life in performative and spatial contexts. He focuses on the conditions under which artistic works develop through encounters, rather than being seen as fixed objects. Key to his practice are questions about liminality, indeterminacy, and relational perception — dynamics that shape the experience of composition. Originally trained in Solid-State Physics (BSc, MSc), he later pursued Music Composition and Artistic Research at the Bern University of the Arts (HKB). He views composition as an evolving event shaped by space, the body, and the presence of the audience. Light is a recurring compositional material in his work, not as illumination, but as a force that triggers perception in the audience, orients the body, and determines what can and cannot be observed, leaving the making of meaning to the subject.
ElektroAbfall is a spatial installation conceived entirely in darkness. The audience is guided into a black room. The installation consists of a grand piano with an open lid, a snare drum with loose snares, and sheets of aluminium paper draped over a subwoofer. At one precise moment, a golden lamp fades in to just enough luminosity to reveal the white piano keys and empty staff paper, before fading out again. Light here is not decoration: it is a compositional event, calibrated to control perception, suspend time, and activate the listener's body as part of the sonic environment. Presented at Sonic Matter Festival, Zürich, 2023.
↗ Link to recordingGraphical score, compositional sketch, and spatial/light plan · Bern 2021–22
Photo: Monika Goldefusová · Musikfestival Bern, 2024
Too Much Music is a music-theatre work created in collaboration with Musikfestival Bern and the Robert Walser-Zentrum, Bern. Drawing on the death of Robert Walser and the Mikrogrammen, the work stages the excess and failure of musical meanings as multiple layers of drama evolve through the piece. Light functions as a dramaturgical agent: shifting between a cold cinematic blue, an overwhelming field of red, and sudden pools of isolation. The work questions what it means to produce music in conditions of saturation, and whether attention itself can become a compositional parameter.
Zar takes its name from the ancient Persian ritual of the same name — a ceremony of possession, exorcism, and collective resonance. The work places the ensemble in a spatial arrangement that emphasises the distribution of sound in a room rather than its projection toward an audience, shifting their function from audience to spectators of a ritual. Light is used as a controlling force: at the opening, a bright light aimed directly at the audience is specifically designed to blind them, preventing them from seeing the stage until it is cross-faded with the stage light — deliberately removing the boundary between perception and non-perception. The score's handwritten annotations reveal the precision of this perceptual thinking. The same techniques were later used in Too Much Music, serving a different dramatic goal.
Video stills · Bern, 2022
Poster image · Video still · Spatial/light diagram · 2023
In Darkness Let Me Play — its title borrowed from John Dowland's melancholic song — stages a solo lutenist in absolute darkness. Two profiler lamps fade in on the performer, each illuminating a different status of the same character. Two blinder lights positioned on the floor behind the performer aim directly at the audience, designed to impair vision, breaking the illusion of the performance. The amplified lute is fed through the same loudspeakers as the electronic tape, dissolving the boundary between live and recorded sound. The spatial diagram specifies two microphones, two lateral speakers, and precise light angles. The audience is challenged to hear without seeing until the entity is revealed to them.
↗ Link to recordingPastoral places a double bass player close to the audience and three percussionists at the far back of the stage — a spatial arrangement that stretches the sonic field across a large depth. The light design is specified with precision: all sources must be "very finely tunable to go very smoothly from 0% to 10%," using only the warm golden glow of profilers. The goal is for the tubular bells to just warmly glow. The work explores how minimal, barely-existing light, long-sustained sounds, and gradually dramatic development shape the audience's experience of presence at this event.
↗ Link to recordingStage/light plan · Video stills · 2024
CHROMA is a large-scale spatial installation by Rebecca Saunders in which musical instruments and sound objects are distributed across vast architectural spaces. The audience navigates freely among the performers and objects, constructing their own listening path through the work. Performed at Centre Dürrenmatt, Neuchâtel (CHROMA XXI) and La cathédrale souterraine, Bern (CHROMA XXII), these experiences were formative in Latif-Shushtari's thinking about how light, space, and the moving body of the observer shape what is heard and perceived. His contribution to CHROMA XXII — integrating light as a directional and atmospheric element within the installation — developed directly from his own compositional practice with tuneable light.
↗ Link to recordingPhotos: Annette Boutellier (CHROMA XXII) · Pablo Fernandez (CHROMA XXI, showing Ali Latif-Shushtari placing sound objects)
"Why an Iranian Physicist Set Robert Walser to Music" — a front-page feature in Der Bund, one of Switzerland's leading independent daily newspapers, on the occasion of the premiere of Too Much Music at Musikfestival Bern 2024. The article traces Latif-Shushtari's path from physics studies in Isfahan to music composition and artistic research in Bern, and the interdisciplinary thinking that connects both fields in his practice.
«Ich will die Klänge so mischen, dass man mit geschlossenen Augen nicht versteht, wie sie entstehen.» "I want to mix the sounds so that with closed eyes you cannot understand how they come into being."