K A T R I N A  B U R C H  (Canada, 1987) works as a visual artist, archaeologist/anthropologist, and electroacoustic producer and composer. The moniker yoneda lemma (since 2013) is inspired by the erotics of abstractions, weaving between reciprocities of music and poetry. Its forms are often kaleidoscopic and personal, containing discrete elements and life histories that repeat into phantasmagoric impressions. Multivariate sources are culled from field recordings, composed instrumentals, and synthetic and/or algorithmic improvisations. Yoneda lemma’s works have been shared widely, such as at the new forms festival (vancouver); muzeum sztuki (łódz); tate britain, café oto and the ica (london); at the hkw and maerzmusik (berlin); bienal sesc de dança 2017 (saõ paulo) (among other locations). The synaesthetic scope of katrina’s artistic practice is influenced by her analytical work in anthropology and archaeology, researching animist-buddhism in the mekong region of northern thailand and excavating for many years at a moche (mochica) huaca in the peruvian north coast desert. Her academic background includes a bachelor in buddhism (religious studies) and Indigenous studies, master’s degrees in anthropology and archaeological science, and in 2021, katrina will commence a phd in anthropology at mcgill university (montréal). In philosophical spirit, katrina aspires to bridge anthropology, religion, and art through sensorial ethnographies of cosmic diplomacy, with an emphasis on listening practices, political frequencies, and anthropologies of care. Katrina is a member of the xenofeminist international collective, laboria cuboniks. In 2015, laboria cuboniks collectively published the manifesto xenofeminism: a politics for alienation.

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