Feli Cabrera López — working as Efe Ce Ele — is a Colombian-Argentine transmedia artist whose practice refuses to separate the body from the machine, the biological from the digital, or the political from the sonic. Born in Colombia and based in Buenos Aires since the age of 18, López founded the Fragment A label, developed audiovisual performances that draw directly on microbiology, and has built a body of work that is simultaneously rigorous and uncompromising. Amplify DAI participant and a recurring presence at MUTEK in both Barcelona and Montreal.
Artistic Practice
Efe Ce Ele’s work occupies the territory where electronic music, live image generation and scientific inquiry converge. Her performances — most fully realised in Bio-Synthesis and Others — are audiovisual environments built in real time from microbiological materials and digital synthesis. In Others, the set moves from ambient to experimental techno while exploring what López describes as “the intersection between living creatures and synthetic virtual entities”. The result is closer to installation than to conventional DJ performance: there is a continuous and evolving visual layer that is inseparable from the sound.
The theoretical dimension of her practice is not peripheral. López has presented the paper “Taxonomy, Gender and Technological Art”, examining connections between electronic art, Foucauldian biopolitics and biological nomenclature as a system of categorisation with direct implications for human development. This analytical framework informs her material choices: the use of microbiological processes as both metaphor and actual visual content is a deliberate positioning, not an aesthetic preference.
López arrived in Buenos Aires at eighteen and trained formally in sound synthesis, sampling and music production — the technical foundation that continues to underpin everything she makes. The Colombian-Argentine dual context is present in the work: not as explicit subject matter, but as a sensibility shaped by movement between distinct musical and political cultures.
Tools and Methods
Her production approach is transmediatic: sound and image are generated and processed simultaneously during live performance, with neither functioning as mere accompaniment to the other. Releases on Fragment A, P H K T, Éditions Éter and sound-space document a studio practice that works with modular synthesis, unconventional rhythmic structures and real-time processing layers. The live setup is characterised by the combination of Ableton Live and modular synthesis hardware — though López has not documented her exact signal chain in publicly available detail, which itself reflects a refusal to fetishise tools at the expense of outcomes.
Fragment A, the label she founded in collaboration with the Festival Internacional Estéticas Expandidas, is as much a methodological statement as a distribution channel. Its stated purpose — “making experimental rhythms visible and expanding the Latin American electronic scene within and beyond its geographic borders” — is continuous with her own artistic position. The label has released work by Camila Rizzo, Xyamm Angel and Maia Basso, among others.
Selected Works
In 2020, López released three albums simultaneously on different labels: Inside (Dissident Movement), Nacer (Éditions Éter) and Coltan (sound-space). The simultaneous release across three distinct ecosystems was not accidental — it demonstrated both her productivity and a deliberate strategy of operating across multiple distribution networks rather than consolidating around a single label identity. Bio-Synthesis and Others remain her most fully documented live performance works, with Others in particular having been presented at MUTEK Barcelona and MUTEK Montreal.
Her participation in Amplify DAI — the British Council and MUTEK programme supporting women artists and curators in the digital arts — provided an institutional framework for international circulation that the Fragment A project extends at the infrastructural level.
[EMBED: Bandcamp — efeceele.bandcamp.com]
