Janine Jop (Mexico, 1990) develops her artistic practice as a performer-improviser, composer and interdisciplinary artist. She is interested in exploring the concept of liminality and speculative fabulation through collaborative work, artistic practice-based research and transdisciplinary processes, considering socio-historical environments and autobiographical aspects.

As a violinist, her focus lies in experimental music, improvisation and contemporary chamber music. She has performed in festivals in Peru, Chile, Ecuador and Germany. She currently has a solo project that combines violin, voice and electronic media and her artistic projects involves scenic and theatrical elements.

She constantly collaborates on stage projects making original music, sound design and performance. She has collaborated with companies and artists such as Future Husband, Israel Martínez, Sara Isabel Quintero, La Compañía Opcional, Arrogante Albino, Make Project, entre otros. She has made original music for video-dances under the direction of Natasha Barhedia, Michel Alzaga, among others.

She is a founding member of Colectiva Tsunami, a group of Mexican women musicians with a gender perspective who do activism, but also compose and perform their own music and other composers. They recently released their first album “Tsunami sonoro” that includes music by Latin American women composers, made with the support of IBERMUSICAS and released by Fauna Records.

She is a member of Ensamble Supercluster, an ensemble with which made the album “Música para trazar un mapa” (2019) including works by young Mexican composers and recently they released “Ensayos sobre la Extrañeza” (2023), a project about migration and identity, through a fictional book accompanied by an album.

She has carried out artistic residencies at Sounds like a Book (Romania), Córtex Frontal (Portugal), ActinArt (Iceland), Medienfrische Festival (Austria) and Copperleg Residency (Estonia). She is a workshop facilitator on topics related to sound culture, such as gender perspective in music and sound ecology, and has experience as a cultural manager.

She is currently studying a master’s degree in Contemporary Performance and Composition (CoPeCo), a platform for experimental artistic practice which spans four institutions across Estonia, Sweden, France and Germany.

For her various projects she has obtained support from the Programa de Estímulos a la Creación y el Desarrollo Artístico (PECDA), Culture Moves Europe-Goethe Institute, Proyecta Jalisco, Fundación BBVA Bancomer, and IBERMÚSICAS.