Ricardo Eizirik (1985, Ribeirão Preto, BR) is a Brazilian composer with an expanded artistic practice. Their work spans instrumental/electronic composition, installation, performance, DJ-ing and curation, often engaging with themes such as bodily perception, colonial histories, banality, the mechanization of society, and the by-products of daily life (i.e. junk, trash, noise, etc). Eizirik’s aesthetic language is marked by an interest in the friction between control and excess, structure and collapse. They frequently draw from archival materials, everyday gestures, and found objects to create layered, hybrid forms that blur the boundaries between music, visual art, and performative action.
Eizirik has received numerous grants and prizes and worked with ensembles and festivals such as Ensemble Mosaik, ensemble Recherche, Neue Vocalsolisten Stuttgart, Ensemble Intercontemporain, Collegium Novum Zürich, Ensemble Adapter, Athelas Sinfonietta, Internationale Ensemble Modern Akademie, Ensemble Talea, Wittener Tage für Neue Kammermusik, ECLAT, Maerz Musik, KLANG, Archipel, Manifeste, Darmstädter Ferienkurse, MUSICA, Nordic Music Days among many others. They studied composition with Antonio C. B. Cunha in Brazil and later with Isabel Mundry. Parallel to their music studies they completed a Master’s in Transdisciplinary Arts at the Zürcher Hochschule der Künste (ZHdK).
Alongside their work in the concert and art world, Eizirik also performs under the alias auto_timer — a DJ and producer identity rooted in left-field Latin American electronic bass music, with a special focus on contemporary sounds from Brazil. Known for high-energy, genre-bending sets, auto_timer combines deconstructed elements of Baile Funk, Mandelão, Bruxaria, and broken percussion with experimental approaches to rhythm and texture. They are also co-founder of CHOKA, a Berlin-based collective and platform dedicated to underground Latin American club music, and co-curator of SuenaLATAM, a festival that celebrates the sounds and diasporas of Latin America. This club-oriented practice extends Eizirik’s broader artistic concerns, allowing them to explore sonic resistance, diasporic identities, and collective embodiment through bass-heavy, dance-driven formats.
Whether in the concert hall, gallery, or in clubs, Eizirik’s work is driven by a commitment to experimentation, critical reflection, and deep listening.