Ali Latif-Shushtari
Composer · Stage Director · Artistic Researcher

Ali Latif-Shushtari

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.

+41 77 524 9694
alilatif990@gmail.com
linktr.ee/alilatif990
Bern, Switzerland

Persian — native
English — C2
German — B2

Selected Works

01 — Installation

ElektroAbfall

2022 · 17'20''
Electronic Tape, Dark Room, Stereo Speakers, Subwoofer, Aluminium Paper, Piano, Snare Drum, and Tuneable Light

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 recording
ElektroAbfall — graphical representation
ElektroAbfall — compositional sketch, Bern 2021 ElektroAbfall — stage and light plan, Bern 2022

Graphical score, compositional sketch, and spatial/light plan · Bern 2021–22

Too Much Music — performer under red light
Too Much Music — trombonist spotlight Too Much Music — ensemble red light

Photo: Monika Goldefusová · Musikfestival Bern, 2024

02 — Music Theatre

Too Much Music

2024 · ca. 45'
Ensemble, Singer, Audio/Visual Media, Light, and Electronics

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.

↗ Link to recording
03 — Music Theatre

Zar, a Concerto for Ensemble

2022 · ca. 40'
Ensemble, Light, and Electronics

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.

↗ Link to recording
Zar — ensemble performance
Zar — percussionist in darkness Zar — score with light annotations

Video stills · Bern, 2022

In Darkness Let Me Play — poster
In Darkness Let Me Play — performance In Darkness Let Me Play — spatial diagram

Poster image · Video still · Spatial/light diagram · 2023

04 — Solo Work

In Darkness Let Me Play

2023 · 13'37''
Amplified Lute, Light, and Electronics

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 recording
05 — Concert Work

Pastoral

2024 · ca. 14'
Double Bass, Three Percussionists, and Light

Pastoral 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 recording
Pastoral — stage and light diagram
Pastoral — performance wide shot Pastoral — double bass detail

Stage/light plan · Video stills · 2024

CHROMA XXI / XXII

CHROMA is a work by composer Rebecca Saunders. Ali Latif-Shushtari served as Assistant Composer and Co-Director on both editions. In CHROMA XXII, he was additionally responsible for the integration of light into the installation.
Musical Instruments and Sound Objects · With Le Nouvel Ensemble Contemporain

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 recording
CHROMA XXII — installation view
CHROMA XXII — performer in space CHROMA XXI — Ali Latif-Shushtari setting up the installation

Photos: Annette Boutellier (CHROMA XXII) · Pablo Fernandez (CHROMA XXI, showing Ali Latif-Shushtari placing sound objects)

Catalogue of Compositions

Interdisciplinary & Staged Works
Too Much Music2024 · ca. 45'
Pastoral2024 · ca. 14'
A Lament2024 · ca. 15'
In Darkness Let Me Play2023 · 13'37''
Zar, a Concerto for Ensemble2022 · ca. 40'
Other Atmospheres2022 · ca. 12'
PEEPS!2022 · ca. 9'
Um die Dinge...2022 · ca. 4'
ElektroAbfall2022 · 17'20''
The Tale of Two Brothers2020 · 10'
A History of Sodomy and Terror2019 · ca. 7'
...esse defectivum (forthcoming)2026–27
Instrumental Solo Works
Suite for solo Violoncello2022 · ca. 15'
A Prelude without a Fugue in c minor2020 · ca. 8'
Jolfa2018 · ca. 4'
Stillborn for solo Violin2017 · ca. 6'
Five Piano Pieces2014–16

Chamber Works
Pettia2021 · ca. 6'
Quartet (Contrabass Fl., Perc., Pno., Vc.)2021 · ca. 8'
1 + 2 < 32020 · ca. 8'
THIS2020 · ca. 5'
Vilolarino2019 · 6'45''
Stillborn for Violin and Clarinet2018 · ca. 7'
Untitled Piece for String Quartet2015 · ca. 6'
Electronic & Acousmatic Works
Etude(microtonal)2024 · 4'31''
ETUDE!2020 · 4'16''
Lulu2019 · 15'20''
Acoustic Thoughts2019 · 4'59''
Shushtari2018 · 9'37''
Mazar Music for Persian Funeral2018 · 4'22''

Publications & Presentations

In the Media

Der Bund front page, September 3, 2024
Der Bund · Front Page & Page 23 · 3 September 2024

Weshalb ein iranischer Physiker
Robert Walser vertont

"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."
Der Bund · 175. Jahrgang, Nr. 205 · Text: Martina Hunziker · Photo: Adrian Moser

Education

MA Specialised Music Performance / Artistic Research
Hochschule der Künste Bern (HKB)
2022 – 2026 · Bern, Switzerland
Thesis: Analysis and Integration of Liminality in Interdisciplinary Composition
Supervisors: Prof. Dr. Leo Dick, Prof. Dr. Nathalie Meidhoff
MA Music Composition / Creative Practice
Hochschule der Künste Bern (HKB)
2019 – 2022 · Bern, Switzerland
Thesis: Rite of Passage as a Compositional Framework: Experiencing a Cultural Liminality
Supervisors: Prof. Dr. Leo Dick, Prof. Simon Steen-Andersen, Prof. Xavier Dayer
MSc Solid-State Physics
Kashan University
2014 – 2017 · Kashan, Iran
Thesis: Electronic, Magnetic, Optic, and Transmission Properties of Silicene
Supervisor: Prof. Dr. Rouhollah Farghadan
BSc Physics
University of Isfahan
2009 – 2014 · Isfahan, Iran