Acra, NY—Wave Farm announced today the artists and projects selected for the 2025 Wave Farm Residency and Radio Art Fellowship Programs. Since 2005, Wave Farm’s international artist-residency program has fostered new work in Transmission Arts. This year the program will focus on the development of new radio artworks designed explicitly for terrestrial radio, to be broadcast on Wave Farm’s creative community radio station WGXC 90.7-FM: Radio for Open Ears and included in Wave Farm’s weekly syndicated program The Radio Art Hour, which is rebroadcast on dozens of additional radio stations across the U.S.

In 2025, Wave Farm welcomes Giulia Palladini (Mexico City, Mexico)⁣, Riel Bellow (O’Gah Po’Geh/Santa Fe, NM)⁣, Jennif(f)er Tamayo (Territory of the Yesah Confederacy/Gibsonville, NC)⁣, Corey Sherrard Jr. (Houston, TX)⁣, Hali Palombo (Chicago, IL)⁣, Jamika Ajalon (Paris, France)⁣, Camille Wong (Los Angeles, CA)⁣, Bill Corrigan (Charlottesville, VA)⁣, Luna Galassini (Santa Fe, NM)⁣, and Fabiana Gibim (Amambai, Paraguay/São Paulo, Brazil)⁣.

The 2025 Wave Farm Residency and Fellowship Program received 301 proposals, originating from 33 countries and 30 U.S. states. Each Artist-in-Residence will live and work on-site at the Wave Farm Study Center for ten days during the program season, which spans April through December.

Radio Art Fellows will dedicate a month-long remote engagement researching and selecting radio artworks by historical and contemporary artists to comprise an episode of the The Radio Art Hour. Fellowships will commence with a brief, in-person visit to Wave Farm, and are awarded in three categories: Research, Community Engagement, and Arts Writing. The Research Fellow will create an additional, second episode of The Radio Art Hour, the Community Engagement Fellow will conceptualize and conduct a public workshop, and the Arts Writing Fellow will produce writing informed by interviews with past Wave Farm Artists-in-residence about the Transmission Art genre for publication in Resonance: The Journal of Sound and Culture (University of California Press).

Giulia Palladini (Mexico City, Mexico)⁣ – Community Engagement Radio Art Fellow
Apr 21, 2025 - May 19, 2025

As the 2025 Wave Farm Community Engagement Radio Art Fellow, Giulia Palladini will conduct a workshop called "Listening to Fascism/Transmitting Antifascism: a Workshop." Looking at and listening to historical audio fragments from an international group of leaders who used fascist tactics to forward their personal agendas, this workshop aims to collectively create a new radio archive of resistance, informed by and learning from the past, to establish a strategy and hope for the future.

Inspired by Walter Benjamin’s and Bertolt Brecht’s belief in the potential of radio as an instrument of political education and popular knowledge production, this workshop mobilizes the listeners as experts, not as a product of scholarly knowledge but through personal and common histories.

Giulia Palladini is a writer, researcher and educator, working between different languages, fields of knowledge and practices of production and reproduction in art and social life. Her work strives for a situated and affective approach to writing, teaching and critical theory. www.giuliapalladini.net

Riel Bellow (O’Gah Po’Geh/Santa Fe, NM) – one long rock song
May 14, 2025 - May 23, 2025

During their residency at Wave Farm, Riel Bellow will work on a radio play called one long rock song. They will create an event score for the play, organize field recordings and sound pieces, and listen. The script/event score will be comprised of different symbols as a citational method for place, event, sounds and story. This work will be attentive to Bellow's own relationship to stones through embodied memory and language. Through the play Bellow offers their own experiences, songs, memories, and dreams, to create sonic interference with the settler logics that reproduce themselves on land. Their time will be rounded off with a broadcast of the play.

Riel Bellow is a multidisciplinary artist, educator, writer, and radio-host. They grew up moving around with the seasons and running around markets, between Santa Fe, New Mexico, San Cristóbal de las Casas, Chiapas, and Edmonton, Alberta. Across mediums they use storytelling as a mode of documentary that endeavors to break into the sequentiality of modern grammar, opening ethical and temporal possibilities for how and where language takes place. Riel has published work in Canada Art, ẹwà journal, Gender Fail, Vera List Center for Art and Politics, and elsewhere. Riel holds a BA from Pitzer College, an MFA from Bard College’s Milton Avery Graduate School, and has recently taught at Pomona College, and Scripps College.


Jennif(f)er Tamayo (Territory of the Yesah Confederacy/Gibsonville, NC)⁣ – VIVIR MEJOR- a brief, poetic history of Radio Sutatenza
Jun 11, 2025 - Jun 20, 2025

Launched in 1947 by the Colombian government, Radio Sutatenza was a publicly broadcast radio school that educated farmers and peasants living in the outer, undriveable mountainous regions of the capital city, Bogota. (Perhaps fearing a political peasant rebellion), the cultural arm of the Colombian government hoped Radio Sutatenza (la “escuela radiophonica”) could teach peasants how to read and write Spanish by organizing literary listening groups and informal schools. Radio Sutatenza taught peasants how to “vivir mejor”-- or, have a better life -- and, over the next 40 years, Radio Sutatenza broadcast hundreds of shows on literacy, hygiene, western medicine, gender roles, family planning and others to the masses at the edges of “civilization.” Used as a tool for nation building, Radio Sutatenza was considered a great success for transitioning Colombia and its people into the modern era.

Jenni(f)fer Tamayo's work VIVIR MEJOR- a brief, poetic history of Radio Sutatenza is a lyric radio poem that satires and critiques the colonial project that undergirds the central mission of Radio Sutatenza. Interspersed throughout the broadcast are lyric reflections that depict Tamayo's family’s personal connections to the radio show. How might have Radio Sutatenza and its mission to “vivir mejor” influenced their family’s choice to emigrate from Colombia in the early 1980s? What does it really mean to “have a better life” under settler colonialism and capitalism? And, how has the broadcast and its aim to “civilize” continued to haunt the artist and other Colombian migrants?

Jenni(f)fer Tamayo is a poet, performer and visual artist whose works reimagine the narratives about and politics of undocumented figures in the contemporary U.S. In their books, performances, and digital media, the “illegal” immigrant is recast as a punk figure that queers the norms of personhood and citizenship. They are the author of the hybrid poetry collections [Red Missed Aches, Read Mistakes] (Switchback Books), YOU DA ONE (Noemi Books), to kill the future in the present (Green Lantern Press) and their most recent collection, bruise/bruise/break, explores the enduring colonial legacies of American poetics, migrant futurity, the power of creative kinship. Their writing is widely published and has been anthologized in Best American Experimental Poetry, New Latin@ Writing, and HarperCollins. They were born on Muisca territory (Bogota, Colombia) and are currently building a home/skool on the unceded lands of the Yesah Confederacy (Piedmont region of North Carolina). www.jenniffertamayo.com

Corey Sherrard Jr. (Houston, TX)⁣ – Startalk
Jul 07, 2025 - Jul 16, 2025

Startalk is a generative sound broadcast informed by the geographic locations of black independent radio stations in America throughout history and their respective frequencies. This work (or patch) will output an improvised set of communications between archived broadcast program snippets, tones, and field recordings from each station's relative location. Startalk will be a continuation of a series of constellation pieces, integrating networks of black autonomous spaces into the process of composing music and long-form sound works.

Corey De’Juan Sherrard Jr engineers a developing system for composing songs and generating objects that respond to the deficit of black post-capitalist propaganda within a world culture. He is a School for Poetic Computation alum and graduated from the University of Houston with a BS in Digital Media in 2020. Sherrard has exhibited at Sanman Studios, Sabine Street Studios, Cleve Carney Museum of Art, Basket Books and Art, and the George Washington Carver Museum and Cultural Center. He was a recipient of the 2023 Jones Artist Award. He now consults at the Kinder High School for Performing and Visual Arts, DJs monthly with internet radio station Ice House Radio, spins jazz on his weekly radio show STEAM at KTRU-LP 96.1 FM, and is a member of experimental music group Essex Moor. www.cds-j.xyz

Hali Palombo (Chicago, IL)⁣ – Echolalia FM
Jul 25, 2025 - Aug 31, 2025

Echolalia is the automatic repetition of phrases spoken by another. It is a self-soothing or self-stimulation technique often seen in individuals on the autism spectrum. Echolalia FM is a piece in three movements, each demonstrating the concept of Echolalia in increasingly abstract fashion. The piece will feature classical and contemporary instrumentation, voice and the voices of others. Repeated words, phrases (musical and lingual), and sounds will present themselves initially as cohesive and eventually they will transform into something larger or deteriorate into nothing at all.

Hali Palombo is a composer, visual artist, filmmaker, shortwave radio enthusiast and amateur historian from the Midwestern United States. Born in Northfield, Minnesota, she has had a natural curiosity about radio and the Midwestern United States from a young age. Her work often weaves the absurdity and mundane beauty of Illinois into her records, short films, drawings and paintings. www.halipalombo.com

Jamika Ajalon (Paris, France)⁣ – Fluid Code Transmissions: Liberation Grooves
Sep 01, 2025 - Sep 10, 2025

Fluid Code Transmissions: Liberation Grooves is a radio broadcast exploring the coded languages of liberation as expressed through sound. This project is all about uncovering how sound—whether through music, rhythm, or noise—has historically functioned as a tool for resistance and survival. Drawing from traditions like Morse code, drum communication, and hobo code, I’ll be investigating how oppressed communities have always found ways to speak in languages that slip past dominant systems of control. The goal? To craft a fluid code—a living, evolving form of expression that can’t be easily co-opted or commodified. This program will be a mix of research, sonic experimentation, and collaborations with artists who embody the spirit of the liberation groove. Expect immersive soundscapes, layered compositions, and conversations that dig into the ways liberation language has morphed and adapted across time and geography. By blending original sound experiments with archival material and guest contributions, Fluid Code Transmissions will be both an artistic exploration and a call to imagine new, uncontainable forms of expression.

Jamika Alajon is a writer, author, and interdisciplinary artist who experiments with text, visuals, and sound. A key part of Alajon's practice involves creating and performing improvisational A/V “Anti-Lectures,” which integrate multiple mediums in a live setting. Sound plays a crucial role in these performances, shaping immersive, multilayered experiences. Alajon's work also explores the intersections of memory, narrative, surveillance culture, and fugitivity, contributing to a living archive that amplifies countercultural perspectives and voices from the margins. Alajon's sound work is diverse, incorporating elements of distorted field recordings, found footage, original compositions, and spoken text or poetry. Recently, Alajon created a soundscape for *Radio Whales*, a dance performance, and collaborated with Afrikadaa’s *Sonic Waves Studio* for an Anti-Lecture Lab. Each project reflects their ongoing exploration of sonic textures as a medium for storytelling, flipping dominant paradigme, and reimagining histories. www.jamikaajalon.com

Camille Wong (Los Angeles, CA) – Teresa Time
Oct 20, 2025 - Oct 29, 2025

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts), Wong reactivates this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB. www.camilleivywong.com

Bill Corrigan (Charlottesville, VA)⁣ – Research Radio Art Fellow
November 1 - November 30, 2025

Bill Corrigan is a sound archivist, musician, researcher and writer. Starting as a freeform DJ at Ann Arbor’s WCBN-FM, he has been digging into radio stations and archives across the United States, from Detroit’s WDET to Charlottesville’s WTJU, and has undertaken research and preservation activities at the Pacifica Radio Archives and the Library of Congress. He has made sounds for interdisciplinary ensembles Underword and the Llano Estacado Monad Band, and currently performs duets within the Resuscianne group. He is presently puzzling over the aesthetics of democratic participation, the rhetorics and putative realities of archival neutrality, and the fictive dimensions of documentary recordings. His work for Wave Farm promises to provide an instruction in navigation through the airwaves via the not-entirely-metaphorical medium of water.

Luna Galassini (Santa Fe, NM)⁣ – Research Radio Art Fellow
November 1 - November 30, 2025

As a Radio Art Research Fellow, Luna Galassini will contribute works of transmissions art originating in New Mexico and the broader Southwest. She will continue archival research that began as an exploration of mining and labor history in New Mexico, and soon expanded to include extant audio archives of historic field recordings, public radio interviews with downwinders and from inside the American Indian Movement's occupation of the Shiprock semiconductor plant, and educational radio programs on New Mexico's rivers, water rights, and land grants. She will focus especially on KUNM's Radio Performance Project, initiated and curated by Ned Sublette, a collection spanning documentary, radio play, long-form field recording, and experimental composition--including a 1979 performance of Alvin Lucier's "Music on a Long Thin Wire," broadcast for five straight days and nights from the roof of the Winrock Shopping Center in Albuquerque. Galassini will also contribute contemporary works to Wave Farm's archive, including artists working with shortwave transmission, low-power community radio, tape collage, performance works using analog broadcast equipment, and contributions from the DIY community of Very Low Frequency enthusiasts drawn to New Mexico's dark sky parks and quiet expanses.

Luna Galassini is a musician and artist based in Santa Fe, New Mexico. Her performances explore the somatic qualities of sound and the vernacular range of the voice through improvisation with found objects, handmade oscillators and receivers, and traditional instruments exploited for their resonant potential as speaker objects. As an independent researcher, she is interested in the translation of the electromagnetic spectrum into audible tones; in the nature of energy work and vibrational healing, particularly as it intersects with her day job as a bodyworker; and in the ecology and history unique to New Mexico, including its vast rural expanses, its troubled sites of extraction, and the aesthetic mythologies that obscure its political and cultural complexity. She has performed both solo and in ensembles at Cocoon (Santa Fe), Wave Archive (Tucson), High Desert Soundings, CO-OPt (Lubbock TX), ICA Santa Fe, the New Mexico Museum of Art, Human Resources, No Name Cinema (Santa Fe), Coaxial, and The Box (Los Angeles). Her video work has been exhibited at No Name Cinema, Currents 826, and REDCAT. She is a co-founder of Santa Fe Noise Ordinance, an experimental concert series that has hosted the Chacon/Nakatani/Santisteven trio, White Boy Scream, Twig Harper, Zachary James Watkins, and the Santa Fe Intertribal Noise Symposium, among many others. www.lunagalassini.com

Fabiana Gibim (Amambai, Paraguay - São Paulo, Brazil)⁣ – Arts Writing Radio Art Fellow
December 1 - December 31, 2025

As a 2025 Wave Farm Radio Art Fellow, Fabiana Gibim writes: "Streaming from an intimate interest in Alien Sound, drawing on what Kodwo Eshun discusses in More Brilliant Than the Sun as Alien Music, I propose writing an essay, culminating on a short book, that uses Tendayi Sithole’s The Black Register, Sun Ra’s MythScience, and Eshun’s concept of Alien Music as an experimental lens to explore how sonic practices articulate modes of Black and Indigenous aesthetic-world-making through vibration as epistemology, transmission, and formless formation. I will focus on the works of Kamari Carter and Gladstone Deluxe (Codes), the ANANSI Revolutionary Collective and SUNJIR0, and Celeste Oram’s TERRA RADIA workshop—all of whom engage with sound as an insurgent force that unsettles hegemonic temporal structures of listening, technology, and registry. Throughout this article, I will explore the breaks where Alien Sound is transmitted (and listened to, dislocated, created, destroyed)—where nothing is fixed in tradition, space, or temporality, but instead dislocated from any origin—proposing sound as a fugitive method of synthetic recombination."

Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Gibim was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Gibim lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism. www.sobinfluencia.com