I am a curator and musician working across contemporary classical and experimental music, sound and interdisciplinary practices. In my curatorial work I strive to create conditions for artistic autonomy, this in the framework of close collaboration. My recent projects and research focus on the ways in which sound is embedded into different physical and social spaces.
BIO
Sasha Elina (pronounced Yélina) (b. 1994) is a curator, cultural producer and musician based in London.
Sasha is the artistic director of the Eternal series in London, showcasing and commissioning contemporary music from local and international artists across musical genres. Since November 2024, Sasha has been working at Brent Music Academy as the programme manager. In 2018, she co-founded Music Space Architecture, a platform and festival dedicated to different areas of interaction between music and architecture, sound and space.
Until 2021, Sasha lived and worked in Moscow, where she devised and produced concert series and interdisciplinary projects at institutions including the New Tretyakov Gallery, the Stanislavsky Electrotheatre, and the Pushkin State Museum of Fine Arts, as well as in independent spaces.
A vocalist and a flautist, Sasha performs composed and improvised music both solo and in various collectives. In March 2024, she self-released her debut album "Different Songs. Vol 1", featuring pieces by Seamus Cater, Tomás Cabado, Eva-Maria Houben, and Johan Lindvall.
Sasha was the founding member of The Same Ensemble (2013-2023), performed with the Moscow Contemporary Music Ensemble (MCME), the Moscow Scratch Orchestra, Splitter Orchester, ГШ (Glintshake), and others.
Sasha was selected as a fellow of OneBeat 2019, a U.S. State Department Programme produced by Bang on a Can’s Found Sound Nation. Sasha received her Music BA in Flute at the Moscow State Tchaikovsky Conservatory (2017), and Music MA by Research at the University of Huddersfield (2023), with the thesis titled “Music curation as a site-oriented practice. Approaches to creating and staging listening experiences”.
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