As If. No Mixtapes! Vol. 9: Constanza Bizraelli
Blake Creighton
Constanza Bizraelli has a positive impact on the world through her various practices, and we have been closely following her work—from her early releases as CAO on Opal Tapes and Club Chai, her AV piece The Burial Theme, originally commissioned by the Institute for Sound & Music (ISM) for the 2018 group exhibition Hexadome, to her publication Cyclops, an open-access serial specialising in contemporary theory, philosophy of religion, and experimental theory Constanza Bizraelli brings a unique touch to her endeavors. With a recent return to releasing eclectic sounds, Constanza Bizraelli present As If. No Mixtapes! Vol.9:
Tracklist
- Boyd Rice & Dave Tibet – The End of the World
- Ayten Senkel – Gül Yar
- Mishio Ogawa – Hikari No Ito Kin No Ito
- Roger Robinson – We work
- Wojciech Bakowski – 1906
- Brenda & the Beachballs – Dancing through the night
- Vex Ruffin & Fab 5 Freddy The Balance
- 266sx – Somos tu última esperanza
- Poison Anna – Riddled Self
- Smerz – No Harm
- Amanda Sarmento & Karrane -Minha Tropa
- Rosalía – Diablo
- Constanza Bizraelli – Playa Fantasma (out 28th of February)
- Talisto – Sombra
- Bernardino Femminielli – Le Pacte
- Arthur Russell – See through love
-Talk us through your mix, what you were thinking and feeling at the time of recording?
One of the core feelings that shaped the mix was a sense of dislocation, intertwined with a persistent undercurrent of struggle. I felt like I was inhabiting multiple emotional and geographical spaces at once, spiritually scattered yet physically grounded in ongoing, practical battles. There was this tension between a spiritual dispersion and a material confinement, as if being imprisoned by a constant, almost quotidian struggle that resisted full dissolution.
At the same time, I’m an eclectic and emotionally intense listener, I move through different emotional intensities quickly, but always deeply, vividly. I wanted the mix to reflect that kind of emotional gravity and multiplicity. The headspace drifts from abstract and ethereal at the beginning, to more concrete and embodied as it progresses.
– You have just recently released a more music after taking some time away, whats your relationship with making and releasing music now?
Yes, I was on a pause releasing music, though I never really stopped making it. I went through a series of drastic changes and personal challenges that made it difficult to focus on planning releases for a while. The upheavals haven’t entirely stopped, but I’m finding strategies to co-exist with them and start releasing again. Over the years, I’ve accumulated a lot of unreleased music, and I’m grateful to finally feel the right timing to begin sharing it.
You have been running cyclops magazine, an open access serial publication specializing in contemporary theory, theory of religion and experimiental theory. How did this come to be and what have you learned operating such a journal?
I started Cyclops when I was living in London back in 2016. I had just completed a Master’s in Art Theory and Philosophy of Art, and Cyclops emerged as a platform to explore research interests that felt peripheral or even unwelcome in traditional academic spaces. At the time, I had written several drafts of theoretical texts and essays, but I couldn’t find platforms that aligned with their spirit. What I was doing felt systemically marginal and experimental, and that sense of isolation pushed me to create my own space. So, Cyclops was conceived as a response to that tension, a platform dedicated to paracademic, speculative, and experimental approaches, particularly those engaging with esoteric concepts. It was also crucial for me that the project remained open-access, ensuring its accessibility to as many people as possible.
In general, running the journal has been a great learning experience. It has taught me a lot about creating space for independent thought, and it has reinforced the vital role of independent publishing as a platform for intellectual freedom and community-building. I’m especially grateful for the people who supported the project in its early stages, philosophers, editors, and artists who helped shape its editorial line.
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