@cat_barbieri - IGDataHub

Caterina Barbieri

@cat_barbieri

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‘At Source’ out now on @light____years

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linktr.ee/catbarbieri

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A CHILD OF SOUND with @labiennale is born ❤️‍🔥⛓️‍💥❤️‍🔥⛓️‍💥❤️‍🔥⛓️‍💥 Photography by @ave_zz courtesy of La Biennale di Venezia. Light and set design @mfo.light.space @rubenspini Pictures in no particular order. 10 Nov 2026

A CHILD OF SOUND with @labiennale is born 👼🏻🤍🙏🏼🔓🦋⛓️‍💥✨♾️ Photography by @ave_zz courtesy of La Biennale di Venezia. Light and set design @mfo.light.space @rubenspini Pictures in no particular order. 09 Nov 2026

(no caption) 25 Oct 2026

“Between the breaths of destiny I quietly slip in. I set a flashy trap called “love.” Between me and now, which one is dissolving into which? How much of now? I want to change the positions of the subject and the predicate. By doing so, perhaps we can reconsider the relationship between above and below. The passive and the active. Time is always flowing. The time before now and the time after now. What humans can perceive is only about one hundred-millionth of a second. And inevitably, the present moment becomes prey to the next moment. But the present moment has also made prey of the moment before it. In that sense, they are equal. Then perhaps it would be better to continue accepting both before and after, each other. While being conscious of moving into the next moment, how much infinity can the now (1) that we are feeling make us experience? Being conscious of this, transforming it into the act of making sound, how many variations of the now and the disappearing now can be created there? If that is possible, every single “one,” which appears only once and never again, will be fulfilled. While crying.” Keiji Haino (from the Golden Lion Ceremony speech), 12.10.26. thanks @labiennale and everyone for a fantastic first week of festival! dress @alexandermcqueen photo @ave_zz 17 Oct 2026

A CHILD OF SOUND IS BORN @labiennale 📸 @ave_zz 14 Oct 2026

‘Scratches on the Readable Surface’ by Caterina Barbieri ( @cat_barbieri ) is the second single from Cocon and is out today. Based on a live modular synth performance, this piece uses delays, combined with a gradually increasing tempo to create complex waves of rhythmic material. For our version, arranged by Octet cellist Alistair Sung ( @alistairsung ) in collaboration with Caterina, we dispersed the various delay voices throughout the ensemble and used different techniques to emulate the filtering that Caterina performs on her modular setup. The result is a hypnotic effect that mirrors the build of the live performance. For us, Caterina’s piece gave us a number of unique challenges. Performing a piece that very subtly increases in tempo over the course of 5 minutes required us to learn to control the overall build and to understand our individual role within the delays without peaking too soon. We’re proud of the work we put into this and the energy that this piece transfers to the audience. ‘Scratches on the Readable Surface’ arrives at the end of the live set and, when combined with the incredible light installation of Nick Verstand ( @nickverstand ), has the wonderful effect of leaving the audience energised at the end of the concert. Follow the link in our bio to listen to and pre-order ‘Scratches on the Readable Surface’. 08 Oct 2026

Music is the cure, music is life! Music as a symbolic bridge between a reality of confinement and the expansiveness of life. * MUSICA LIBERA is a very special project between the Biennale College Musica of @labiennale and the Giudecca women prison, originally born out of a conversation I had with the President Pietrangelo Buttafuoco @pietrangelobuttafuoco on music as a transformative and healing force, as well as a powerful medium to stay attached to life and connect the inside to the outside world. Over the past months, women living under incarceration took part in three workshops exploring music, listening, memory and collective creation. The process moved through memory and perception of time with Camae Ayewa @moormother, collective listening with Alif Hilal @alif_hilal_, and open music-making with Simone Trabucchi / STILL @stillagramstill, who brought a DIY recording studio inside the prison. In keeping with the Festival’s theme, A Child of Sound, MUSICA LIBERA is an exercise in listening, openness, vulnerability and co-creation, without any pressure of having to achieve a predetermined outcome imposed from above. The result takes the shape of a sound installation activated by a live performance with the women from the prison and the young artists of the College (Wyldie Bracewell @__bracewell, Talullah Calderwood @talullahcalderwood, Lara Damaso @lalalaradamaso, Andrea La Pietra @_anddot, alys (alys)alys @alys.alys.alys). The work will be presented on 18 and 24 October in the courtyard of the Giudecca prison, as part of the 70th International Festival of Contemporary Music - La Biennale di Venezia. Register via the link in stories. 02 Oct 2026

Maxime, Maxime…Maxime 💙 Your music is so fantastic and I am really happy your new album ‘Club Imperiale’ is finally out on @light____years ! I can’t stop listening and I want to thank you for your trust and the clarity of your vision. Composed and programmed for MIDl-controlled organ by Maxime Denuc @maximedenuc Produced and mixed by Raphaël Hénard at Studio La Savonnerie, Brussels. Recorded by Harry Charlier at Sankt Antonius Kirche, Düsseldorf-Oberkassel. Photography by Georg Gatsas @georggatsas Layout by @rubenspini 18 Sep 2026

GRAZIE ROMA 🖤 Italian premiere of ‘Non puoi contare l’infinito’ at @romaeuropa for orchestra, voice and electronics with @onceim_paris, directed by Frederic Blondy. Photography by @kimmika Flower armour by @innerraum 14 Sep 2026

A CHILD OF SOUND ~ October 10-24th, @labiennale see you in venice 🖤 artwork @rubenspini 14 Aug 2026

amore, dolore e un sacco di nuova musica in berlin, stockholm, paris, venice, sardinia 🦂🖤 jan-june 2026 28 Jul 2026

I am honored that my piece “Alphabet of Light” has been selected for the opening of James Turrell’s installation As Seen Below - The Dome’ at AroS Aarhus Art Museum in Aarhus, Denmark. ‘As Seen Below’ is the artist’s largest and most ambitious Skyspace to date. Comparable in scale and monumentality to the Pantheon in Rome, the work marks a significant milestone in both the artist’s long and storied career and in the museum’s history. ‘As Seen Below offers a collective experience driven by light and the poetry of seasons to emphasise our relationship to nature, the sky, and our shared planet!’ — James Turrell Music selection curated by @kh_Marie_ @arosartmuseum @jamesturell 23 Jun 2026

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shortcode	caption	likes	comments
Dfj4OptDA7X	A CHILD OF SOUND with @labiennale is born ❤️‍…
DfhI5LNjAtv	A CHILD OF SOUND with @labiennale is born 👼🏻🤍…
De7jANooa7E

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up to 1,825 accounts

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username	full_name	user_id	is_verified	is_private	profile_pic_url

These are the columns. We can't show live rows: Instagram serves no follower or following list to a logged-out client, so we hold none until you order.

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Every post & reel

524 posts & reels

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minimum

Caption, likes, comments, views, duration, mentions, co-authors and sponsored status for every post and reel.

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shortcode	caption	likes	comments
Dfj4OptDA7X	A CHILD OF SOUND with @labiennale is born ❤️‍…
DfhI5LNjAtv	A CHILD OF SOUND with @labiennale is born 👼🏻🤍…
De7jANooa7E

Real rows from this account. The file continues in the same shape.

Everyone who follows them

up to 50,000 followers of 88,638 total

$250.00

Handle, full name, ID, and verified/private flags for each follower.

See the columns

username	full_name	user_id	is_verified	is_private	profile_pic_url

These are the columns. We can't show live rows: Instagram serves no follower or following list to a logged-out client, so we hold none until you order.

Everyone they follow

up to 1,825 accounts

$9.99

minimum

Every account this one follows, same fields.

See the columns

username	full_name	user_id	is_verified	is_private	profile_pic_url

These are the columns. We can't show live rows: Instagram serves no follower or following list to a logged-out client, so we hold none until you order.

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