Beatriz Ferreyra enters a room and already stops with excitement in the doorway: “Look at all the sounds it makes, nieaowowowa!” The Argentinean composer and pioneer of musique concrète collects sounds made by everyday objects. Aura Satz’s minimalist portrait follows the sound hunter at work, shows her gestures and her still undiminished joy of discovery when arranging the sounds.

Wang Xilin does not enter the stage in a suite, as the title might suggest, but completely naked. He stretches and bends, appears to familiarise himself with his surroundings, does some vocal exercises, sits down at the piano. Wang Xilin is one of China’s most important composers of contemporary music, having written his first symphonies in his youth. Wang Bing gives the 86-year-old more than a little space. For his portrait, he presents him with the entire Théâtre des Bouffes du Nord in Paris.

This is where Wang Xilin reviews his life of torture and oppression, recapitulates the tribulations in communist China, reports knocked-out teeth and nightmares, suicides among intellectuals. His testimony is frequently underlaid, sometimes even drowned out by grandiose musical arrangements. When an orchestra thunders from offscreen, Wang Xilin’s body rears up – “Man in Black” is also an exorcistic oral history. The composer turns himself into his own instrument, into the medium of a violent epoch, sharing his emotions literally unveiled.

In 1974, the mathematician Penrose discovered pairs of tiles that form an infinite plane without repeating patterns. Inspired by this, Max Cooper uses a rhythm fragment of one instrument to compose a percussion ensemble without a single identical loop. Jessica In contributes animated tile ornaments without symmetries that are reminiscent of a mandala and visualise the idea of infinity.