Marianthi Papalexandri Alexandri. Selected Works View

Transcription

1 Selected Works View

2 modular n 2 speaking of membranes Marianthi Papalexandri Alexandri Sound Kinetic Sculpture 2017 Materials : aluminum, rosin, silicone, steel, motors, nylon 200 x 200 x 200 cm Collaboration with Pe Lang Commissioned by Donaueschingen modular n 2 speaking of membranes is a kinetic sound sculpture that consists of 120 miniature speakers acoustically activated by a rosined motor driven mechanism. A nylon thread is fastened through a hole at the center of the membrane; the end of the nylon thread is loosely secured in a motor turned rosined wheel to produce friction. Sound is produced by the action of the rim of the rotating wheel rubbing the thread as the wheel is turned. The two surfaces alternating between sticking to each other and sliding over each other, with a corresponding change in the force of friction. The motor speed is reduced at the lowest speed. The slow turn of the wheel creates changes in the tension of the thread, resulting as sounds (crackling impulse) in the membrane of the speaker. Video: modular nº2 and sound sculptures on Vimeo

3 "modular n 2 - speaking of membranes", Museum Art Plus Donaueschingen Musiktage 2017

4 Speaking of Membranes Marianthi Papalexandri Alexandri Sound Kinetic Sculpture 2014 Materials : aluminum, rosin, silicone, steel, motors, nylon 200 x 200 x 200 cm Collaboration with Pe Lang Commissioned by Le Bon Accueil Lieu d'art contemporain La chapelle Saint-Joseph de Montfort / Meu, France Speaking of membranes is a kinetic sound sculpture that consists of 136 miniature speakers acoustically activated by a rosined motor driven mechanism. A nylon thread is fastened through a hole at the center of the membrane; the end of the nylon thread is loosely secured in a motor turned rosined wheel to produce friction. Sound is produced by the action of the rim of the rotating wheel rubbing the thread as the wheel is turned. The two surfaces alternating between sticking to each other and sliding over each other, with a corresponding change in the force of friction. The motor speed is reduced at the lowest speed. The slow turn of the wheel creates changes in the tension of the thread, resulting as sounds (crackling impulse) in the membrane of the speaker. Video: Speaking of membranes on Vimeo

5 Speaking of Membranes, Galerie Anhava, Helsinki 2014

6 Speaking of Membranes, 2014

7 Speaking of Membranes, 2014

8 Speaking of Membranes, EMMA Museum of Modern Art, Helsinki 2014

9 Speaking of Membranes, 2014

10 Sound Sculpture I, II, III Marianthi Papalexandri Alexandri 2015 Sound Kinetic Sculpture Materials : motors, batteries, cotton, foam board, granite, stainless steel, polyacetal, mechanic parts motor, cotton, foam board, granite, stainless steel, polyacetal, mechanic parts 83 x 15 x 15 cm edition 1/5 Collaboration with Pe Lang The three kinetic sound sculptures control and put physical forces in action with a captivating elegance. The work combine precise self- made mechanical systems with motors, rosined plastic wheels, cotton threads, steel, metal chain, lightweight foam board, granite and rubber. The sounds produced when certain structures come in contact with each other, different tones of clicks and ticks mechanically programmed and generated by the slow moving rosined wheel gradually eroded, and a metal chain starts to dance in a captivating and fascinating manner. Galerie Anhava : Galerie Anhava Video:modular nº2 and sound sculptures on Vimeo

11 Sound Sculptures, I,II, III, 2015 Galerie Anhava, Helsinki

12 Sound Sculptures, I,II, III, 2015 Galerie Anhava, 2015

13 Contact Marianthi Papalexandri Alexandri Commissioned by Curious Chamber Players 2018 Supported by: Swedish Arts Council and the Grekisk konstmusikfestival (Greek Art Music Festival) Trio for prepared motors, amplified foam board and 100 glass head pins. Contact explores the micro sounds within materials through physical interaction to create sustained minimal but rather complex sounds and textures.

14 Contact, Greek Art Music Festival, image: 2018 Martin Sigmund

15 Distanz Marianthi Papalexandri Alexandri Performative Sound Kinetic Sculpture Written for Séverine Ballon Materials : aluminum, rosin, silicone, steel, motors, nylon, cotton Kinetic system developed in collaboration with Pe Lang Commissioned by ECLAT festival In Distanz, Papalexandri invites the audience to a refined and focused exploration of objects and sounds carefully shaped and place at different distances. The performative installation setting offers the performer a possibility to alternate between being a sound source, a kinetic element and an active mechanism. The work explore the kinesthetic relationships between instrument, devices and space. Distanz reflects Papalexandri s fascination of the forces of nature and the phenomena of physics friction, electricity, vibration making us wonder at what we see and hear.

16 Distanz, ECLAT Festival 2018 image: Martin Sigmund

17 Distanz, 2018, ECLAT Festival 2018 image: Martin Sigmund

18 Solo for Motor, Serpent and Brain Model Marianthi Papalexandri Alexandri 2017 Materials: motor, serpent, silicone, nylon, wood, rosin Sound Installation, Asmolean Museum -Supersonic Event with the support of Oxford University Bate Collection of Music Instruments and the Department of Physiology Anatomy and Genetics. Concept and sound devices by Marianthi Papalexandri

19 Solo for Motor, Serpent and Brain Model, 2017 Ashmolean Museum, Oxford

20 Sound Sculptures, I,II, III, Ashmolean Museum, Oxford 2017 IWPHOTOGRAPHIC Ashmolean Museum, University of Oxford

21 Solo for Motors and Strings Marianthi Papalexandri Alexandri 2016 Materials: motors, violin, foam board, silicone, thread, elastic cord, metal clip, wooden wheels, rosin Composition Commissioned by Ultima Festival 2016 with the support of Ernst Von Siemens Music Foundation Concept : Papalexandri Written for Karin Hellqvist Sound devices created by Papalexandri

22 Solo for Motors & Strings, 2016

23 Duo for Motor and Sound Panels Marianthi Papalexandri Alexandri 2016 Materials: motor, violin, foam board, silicone, thread, elastic cord, stainless steel, metal clip, wooden wheels, rosin Composition Commissioned by Hidden Mother with the support of the Swedish Arts Council Concept/artistic direction/choreography: Marianthi Papalexandri Alexandri

24 Duo for Motor & Sound Panels, 2016

25 Marianthi Papalexandri Alexandri Duo for Motor & Sound Panels, 2016 Sheldonian Theater Oxford

26 Duo for Motor & Sound Panels, 2016 Sheldonian Theater Oxford

27 Duo for Motor & Sound Panels, 2016 Milstein Hall AAP Cornell

28 Untitled V Marianthi Papalexandri Alexandri Sound sculpture /installation 2013 Materials : aluminum, rosin, silicone, steel, motor, nylon Dimensions Variable _TONE plant, Standing Pine Gallery, Nagoya, Japan 2013 _Kunsthal Aarhus, Denmark 2014 Commissioned by SPOR Festival Untitled V is a sound sculpture that consists of miniature speakers acoustically activated by a motor driven mechanism. Video: Untitled V on Vimeo

29 Untiled V 2014 Kunsthal Aarhus

30 Untiled V, Kunsthal Aarhus, 2014

31 Sound Object I Marianthi Papalexandri Alexandri Sound Sculpture Materials: aluminum, acrylic, motor, wood, ceramic, glass Size: 30x30 cm 2013 Two glass spheres are placed on top of a thin white ceramic surface that covers the top part of a white wooden plinth balanced on a shake platform. A motor driven mechanism gives a gently puss to the plinth allowing the spheres to move each time in different directions.the sound of the friction between the spheres against the ceramic surface becomes then audible. Sound Object I was exhibited at the Standing Pine Gallery in Nagoya, Japan ( August 10- August 2013 ).

32 Sound Object I, 2013

33 Marianthi Papalexandri Alexandri Sound Object I, 2015 Sound Object I, 2013 Galerie Anhava, Helsinki Galerie Anhava

34 chessound Marianthi Papalexandri Alexandri Sound video installation/performance for prepared chess written for Russian Grandmaster Vera Nebolsina. concept, composition & direction : Marianthi Papalexandri performer: Vera Nebolsina / video: Youki Hirakawa Drawing pieces: an encounter between art and chess, Akademie Schloss Solitude chessound solo for prepared chess was developed in collaboration with Nebolsina and Hirakawa. The work creates an interactive dialogue between chess, sound and image. Preparation introduces structural and functional possibilities by; defining musical sections; affecting the form of playing; alerting the habitual perceptions of the performer as well as determining speed, dynamics and other musical parameters. Particularly the work examines the same slow repetitive physical gestures under different conditions. By questioning the function of gestures and sounds chessound invites both the performer and listener into an evocative private soundvisual world as well as to new ways of engaging to chess and music, acoustically and visually. The video operates both as a self-reflexive and compositional tool that facilitates extending the physical limits and possibilities of the performing body. It provides the possibility of exposing the detailed movements and gestures of making the sounds that come along with the detailed movements audible and traceable. Video: chessound on Vimeo

35 chessound, 2014

36 Untitled VI Marianthi Papalexandri Alexandri Sound installation/performance for three male voices, sound sculptures, motors and wooden resonant bodies 2014 Materials : aluminum, acrylic, silicone, rubber, steel, motors, nylon, wood Commissioned by Neue Vocalsolisten for ECLAT festival of New Music, Stuttgart. Kindly supported by Ernst von Siemens Musikstiftung In Untitled VI the vocalists are singing with modified resonant tubes and motors the Greek word "akousate" that means to listen attentively. What happens when voice and singing are mediated and controlled with motor driven resonant bodies? How does this act of singing change the physical and imagined presence of the voice? How does it affect the process of intensive listening to one's own voice, to one another, and to external sounds? Exploring these questions, Papalexandri encourages hearing the resonances between different voices and bodies. text: Dr. Zeynep Bulut Video: Mediterranean Voices - Werke - Untitled VI - Neue Vocalsolisten

37 Untiled VI 2014 Venice Biennale of Architecture

38 Quartet For Motors and Resonant Bodies Marianthi Papalexandri-Alexandri 2013 Commissioned by Yarn - Wire Materials : bass drum, motors, steel, paper, piano, log drum, Quartet for Motors and Resonant Bodies combines acoustic instruments (resonant bodies) and motor driven devices that function both as sound sources themselves and as active preparations that determine speed, dynamics and other musical parameters. The result is a slow, purposeful "unfolding" of sound: an intense procedural sequence of extremely minimal slow-motion movements produces complex and concentrated sustained sounds and textures over time. Video: Marianthi Papalexandri - Quartet for Motors and Resonant Bodies (2013) on Vimeo

39 Marianthi Papalexandri Quartet for Motors and Resonant Bodies Issue Project Room, New York

40 Solo for Motors and Resonant Body Marianthi Papalexandri Alexandri 2012 Materials: motors, wood, piano Commissioned for the faithful! Fidelity and Betrayal of Musical Interpretation festival. Written and premiered by Ernst Surberg. Solo for Motors and Resonant Body, is using motors prepared with a wooden wheel and placed on different locations inside the piano (on the strings, next to the nails, etc.) in such a way that it allow them to move, spin -- to behave in a way that is similar to a live organism, producing an enormous variety of rhythms and sounds. The wheels have been modified and shaped to produce different angles, such that they come into contact with the strings in a variety of ways. At the same time the sound of the engine is amplified by the body of the piano. The performer can influence the sound by changing or operating the speed controller, which changes the engine sound of the motor. Kindly supported by Akademie Schloss Solitude and x-track production Video:

41 Solo for Motors and Resonant Body, 2012 Academy Schloss Solitude

42 Extensions Marianthi Papalexandri-Alexandri 2012 Site-specific sound installation Materials : wood, steel, motor, aluminium Exhibition : Horch!/Listen! Akademie Schloss Solitude Sounds are entangled. They come from and travel around a variety of bodies. Continuous and liquid, sounds do not necessarily arrive at presumed destinations. Embodied and imagined, their physical and imaginary connotations are intimately different. Even if sounds are habituated within the material culture of hearing and listening, they remain contingent, as they also mingle with one another. Sounds simultaneously change and are changed by their immediate physical environment. Such contingency can potentially draw our attention to what gets unnoticed, unseen and unheard. Marianthi Papalexandri-Alexandri s Extensions realizes this potential, while marking the inaudible sounds in an invisible space. Installed in the Unterer Hirschgang the work points at seven locations. In each location, a steel wire that is connected to a special mechanical device acoustically activates an invisible surface. This configuration invites us to attentively hear and see the production of sound, the movement of the wire between the surface and the mechanical device. The seven locations vibrate both individually and together. Their spectrum of frequencies become audible both in their own marked zone and in dialogue with one another. They together turn the Unterer Hirschgang into a sounding body. Extensions then awakens the Unterer Hirschgang to a resonant space. Text: Zeynep Bulut Video: Extensions on Vimeo

43 Extensions, 2012 Academy Schloss Solitude

44 Extensions, 2012 Academy Schloss Solitude

45 Untitled IV (atemlos) Marianthi Papalexandri-Alexandri Sound installation/performance Sound devices by Papalexandri 2012 Commissioned by QNG -Quartet New Generation and the Ultraschall Festival / Berlin Musikinstrumenten Museum Kindly supported by Berliner Kompositionsstipendien 2011 and Academie Schloss Solitude Untitled IV is both a composition and installation work that consists of four prepared recorders (19 parts) with one end open and the other closed with an elastic silicone membrane. A nylon line is fastened through a hole at the center of the membrane; the end of the nylon line is loosely secured to a wooden rosined motor driven rod to produce friction. The sound is produced by the nylon line causing the membrane to vibrate by friction. The sound of Untitled IV can be influenced by manipulating the tension of the nylon lines, changing the speed of the motor, turning on and off the motors, depressing the membrane with the fingers while it is vibrating to vary the pitch or by playing on the keys. Video: Untitled IV on Vimeo

46 Untitled IV, 2012 Museum of Musical Instruments Berlin

47 Untitled IV, 2012

48 Connector Marianthi Papalexandri-Alexandri Site specific sound installation THE SOUND OF NO-ONE-DAS Weekend Transmediale 2011 Curated by Manuel Wischnewski Materials: trombone bell, nylon, motor, silicon rubber, wood Connector implies a sonic interaction between instruments/sound objects that are connected to mechanical devices by nylon lines, both of which were previously presented in the form of a live performance. The same instruments /sound objects are now able to produce sounds autonomously, independent of a performer. Video: Connector on Vimeo

49 Connector, 2011 Transmediale Festival, Berlin

50 Connector, 2011 Transmediale, Berlin

51 Connector, 2011 Transmediale, Berlin

52 Untitled II Marianthi Papalexandri-Alexandri Sound Instrument/ Installation/ Sculpture Materials: motors, acrylic glass, nylon line, silicone Untitled II is a work adaptable to any space that can be presented both as a sounding sculpture and as an instrument in the context of a solo live performance. Untitled II consists of seventeen clear acrylic cylindrical tubes with one end open and the other closed with an elastic silicone membrane. A nylon line is fastened through a hole at the centre of the membrane; the end of the nylon line is loosely secured in an acrylic resined motor driven rod to produce friction. The sound is produced by the nylon line causing the membrane to vibrate by friction. The sound of Untitled II can be influenced by manipulating the tension of the nylon lines, changing the speed of the motor, turning on and off the motors or by depressing the membrane with the fingers while it is vibrating to vary the pitch. Untitled II creates and explores a soundscape of machineproduced long sustained sounds and textures with organic character and without any post processing. Furthermore it questions the role of the performer highlighting the difference between performing and operating ( music as art and music as music ). Video: Untitled II on Vimeo

53 Untitled II, 2010

54 Untitled Ii, Con Voce Festival,2014

55 Untitled Ii, Martin Gropius, 2016

56 Untitled Ii,ISEA Hong Kong,2016

57 Untitled II, Installation View Asmolean Museum 2017

58 Marianthi Marianthi Papalexandri Papalexandri Alexandri Alexandri Untitled II, Installation View Untitled II, 2012 Long Night Museum Stuttgart

59 Sound Architecture Marianthi Papalexandri Alexandri Sound Sculpture Collaboration with Pe Lang Materials: motor, aluminum, metal, brass, plastic, paper 2013 Standing Pine Gallery in Nagoya, Japan

60 Sound Architecture, 2013 Standing Pine Gallery, Nagoya Japan

61 Operator Marianthi Papalexandri Alexandri fl, ob, cl, sx, vln, vla, vcl, pno and perc Commissioned by Ensemble Mosaik. Conductor: Enno Poppe Sound devices and preparations developed in collaboration with Pe Lang. Operator questions the role of the performer highlighting the difference between performing and operating. Operator is a piece for nine instrumentalists to premiere by Ensemble Mosaik at the Dialoge Festival in Salzburg (December 2010). Operator expands on the idea of using motor-driven sound props that function both as sound sources and as active preparations determining the speed, dynamics and other musical parameters. This process encourages the performer to listen proactively and become aware of the possibilities latent between him or her and the instrument. This interaction between the performer and the instrument is particularly challenged with a new preparation developed for Operator that consists of a plexiglass tube prepared with an active speaker that is connected to a computer or ipod and attached to the end of each wind instrument. The sound (white noise, square wave, random noise) travels from the computer through the speaker and inside the instrument which functions as a resonant body that the performer can play through the keys. Lastly, the ipod is connected to a four channel speed controller operated by the conductor. Video:

62 Operator, 2010 Maertz Musik

63 Untitled Marianthi Papalexandri Alexandri 2009 Untitled is using prepared acoustic instruments (bass flute, alto and soprano flute head joint) and mechanised sound devices made in collaboration with artist Pe Lang, which function both as preparations and as independent musical instruments. With these, I explore new bodily movements and sounds by building mechanisms which mandate and manifest different approaches to musical interpretation. Commissioned by Electronic Music Studio (EMS) Stockholm. Premiered by Erik Drescher, COMA Gallery Centre for Opinions in Music and the Arts, Berlin, Germany.

64 Untitled I, 2009 COMA Gallery, Berlin

65 Reciprocal Marianthi Papalexandri Alexandri 2009 IMPULS Composition Award Instruments: flute, contra bass clarinet, accordion, piano, drop machine, trombone, violin 1, violin 2, viola, cello and double bass. Commissioned by Klangforum Wien and the International Ensemble Academy of Graz. Premiered by Klangforum Wien, Impuls Prize Concert at Helmut- List-Hall, Graz. Conducted by Enno Poppe. Preparations and devices designed by Marianthi Papalexandri- Alexandri. A large part of my work is formed through the manipulation of conventional instruments by preparations. In manipulating the instrument, I constrain habitual actions to force more immediate reactions in the performer. There reactions, in turn, allow new forms of behavior and communication in the ensemble. In addition to the preparations, l combine new instruments-machines and devices which function both as preparations and as independent instruments. Reciprocal, for 11 instrumentalists continues to expand on these ideas by using preparations and devices that allow to form a continuous sound as the principal sound sources. Videohttp://

66 Warten Marianthi Papalexandri Alexandri 2009 World premiered at the Wien Modern Festival by percussionist Matthew Jenkins. Instruments: drop machine by Pe Lang Drop machine: DC-motor, bead chain loop, metal bracket, amplification materials (2007). Materials: drop machine, bead chains, table, chimes, small pieces of wood, thin metal, paper, violin mutes Warten explores slow, minimal physical movements and machineproduced long sustained organic sounds and textures. Video:

67 Warten, 2009

68 Yarn Marianthi Papalexandri Alexandri 2008 Commissioned by the Internationale Musikinstitut Darmstadt for the Kranichstein Prize. Premiered by E. Birynkova (fl), M. Walentynowitz (pno), S.Ota (vln), S. Ahrendt (vln), P. Miller (vla), M. Nishioka (prc) and E. Borgir (vlc). Preparations designed by Marianthi Papalexandri-Alexandri Yarn explores alternative possibilities of playing conventional musical instruments. In this piece, two string instruments are connected by a fishing line tied to a string on each instrument. This connector string is bowed to transmit sound between the two connected instruments which now become a single percussive instrument. For this piece, the percussionist (bowing the central string) and the two string players have to coordinate their bodily gestures in order to achieve the ideal sound. The fragile equilibrium born out of this compound instrument necessitates a heightened sensitivity among the performers and a very particular form of listening and bodily reaction. Video:

69 Yarn, 2009 MaerzMusik Festival

70 Kein Thema Marianthi Papalexandri Alexandri 2007 Commissioned by Steven Schick for the Roots and Rhizomes: Seventy-Five Years of Percussion Music Conference. Premiered by Steven Schick, Ross Karre and Justin De Hart. Kein Thema focuses on alerting the habitual perceptions of the performer. In manipulating the instrument, I constrain habitual actions to provoke more immediate reactions in the performer. These reactions, in turn, allow new forms of behavior and communication in the ensemble. Kein Thema also aims to expand various micro movements in the preparation and the act of producing sounds that are acoustically and visually perceptive from a closer distance. Furthermore, it reflects my intention to explore how limitation can lead to new possibilities in sound. In this way the piece explores a very small number of gestures, actions and instruments. The idea is to examine the same repetitive physical gestures under different conditions. Video:

71 Kein Thema, 2007

72 (b. 1974, Greece) Marianthi Papalexandri-Alexandri (b. 1974) is a Greek-born composer and sound artist working in Berlin, Germany, Ithaca, NY and Zurich, Switzerland. Papalexandri's works interweave the borderlines of sound art, musical composition, visual objects and performance and explore the factors that link these art forms. It is a work that challenges the production and perception of sound by questioning the instrument as a sound-generator as well as the type of sound production and behavior of the performer. The world of sound and the visual appearance of Papalexandri s works are in continuous interaction, while being uncompromisingly precise, pure and economical in their means. Papalexandri obtained her BMus degree in music and MMus degree in composition ( MMus) from Goldsmiths College, University of London. Following postgraduate studies and research at the Universität für Musik und darstellende Kunst in Vienna (2008). She completed her doctoral studies in music composition (Ph.D.) at the University of California, San Diego (2008). In August 2016 Papalexandri joined the Cornell University Department of Music as Assistant Professor of Composition and Sound Art. Over the last seven years, Papalexandri has created a series of works centered upon mechanical constructions, that allows her to acoustically activate musical instruments, objects and architectural elements and space presented in the context of composition, music performance, sound installation and sculpture. She is known internationally for her subtle sound constructions employing few means, which she makes both herself and together with Swiss-born kinetic artist Pe Lang. Their recent kinetic sound sculpture, Speaking of Membranes, is in the collection of Emma, Espoo Museum of Modern Art, Finland. Selected by the Japan Media Art Festival and supported by Pro-Helvetia, Papalexandri s work have been exhibited internationally, including MuDa, Zurich ; Asmolean Museum, Oxford, Museum of Musical Instruments Berlin; Japan Art Fair, ISEA Hong Kong; Speelklok Museum, Ultrech; Long Night of Museums, Stuttgart; Standing Pine Gallery, Nagoya, Japan; Gallery Anhava, Helsinki; Mario Mazzoli Gallery, Berlin; Art Taipei; New Stephen Lawrence Gallery, London; ICI Institute of Cultural Inquire, Berlin; Kunsthalle Freiburg, Germany; Center d Art Monica, Barcelona; Kunsthal Aarhus, Denmark; San Francisco Art Institute; Tokyo Yebis International Festival for Art; Biennale del Disegno di Rimini, Italy; Transmediale, Berlin, Martin- Gropious- Bau, Berlin, Donaueschingen Festival- Museum Art Plus, and Venice Biennale of Architecture. Papalexandri s music has been commissioned and premiered all over the world by ensembles, such as Neue Vocalsolisten, Klangforum Wien, Ensemble SurPlus, Mosaik, Curious Chamber Players, Yarn /Wire, Ensemble Dal Niente, Ensemble Scenatet, the San Francisco Contemporary Music Players, Wet Ink Ensemble, Quartet New Generation, Orkest de Volharding, the London Improvisers Orchestra, the Hellenic Ensemble of Contemporary Music, Ensemble dissonart, Hidden Mother, Ensemble This/Ensemble That, amongst others, and featured in festivals such as MaerzMusik Festival, Berlin; the ISCM World Music Days, Stuttgart; Ultrashall, Berlin; ZKM, Karlsruhe; impuls, Graz; De Bijloke, Yerba Buena Center for the Arts, San Francisco; Dialogue Festival, Salzburg; Carlsbad Music Festival, Los Angeles; ECLAT Festival, Stuttgart; SPOR Festival, Aarhus; Audiograft Festival, Oxford; Concertgebouw Brugge; Athens Concert Hall; Tzlil Meudcan Festival, Tel Avil; Darmstadt; Gaudeamus Festival, Amsterdam; Issue Project Room, New York; Wien Modern and MATA New York. The recipient of the Humboldt-University of Berlin: Cluster of Excellence International Fellowship (2015), Papalexandri has been honored by numerous awards, residencies and grants, including the Ernst Von Siemens Foundation Commission (2016), the Berlin Senate Sound Art Grant (2016), the Swedish Arts Council Composition Grant (2016 & 2015), the Berlin Senate Composition Grant (2011), a residency at the Akademie Schloss Solitude, Stuttgart ( ), the International IMPULS Composition Award (2009), a residency at the Electronic Music Studios, Sweden (2008), the Dan David Prize for Contemporary Music (2007), the Darmstadt Stipendienpreis (2006), the Erickson Composition Fellowship (2004), the Kurt Weill Composition Fellowship and the Gluck Art Fellowship (2004). In 2017 Papalexandri was a sound artist in residence at the International House of Artists Villa Corcodia Bamberg Germany and at St John's College, University of Oxford. Current projects include commissions by the Quiet Music Ensemble, Klangforum Wien, Onassis Cultural Centre /Interfaces and Japanese record label Matter.