Lourene is a Brazilian artist based in Hanoi and the newest member of Atipik collective.

Technique and versatility are consequences of the intimacy she develops when she expands her research between different strands of House Music, Techno and Trance from the 90s and of the present, always looking for analogical sounds. Characteristics that elevated her experience with music and transported her to unique presentations at various festivals, parties and clubs across her country, in South America and also in Europe. Thus, she was the first brazilian woman to play on RTS FM and was equally recognized by participating in “Pulso” - Red Bull Station (São Paulo), standing out as “Vanguard of a Cultural Movement”.

As a vocalist and songwriter, she counts several collaborations with artists across the globe, with important reviews on Resident Advisor. The dynamism of the connections with other producers in carrying out these works encouraged her to incorporate a new presentation format to her dj sets, and then “A.I.R.” was born.

The Boiler Room episode, broadcast in November 2021, marked the transition to a format that incorporates all of Lourene’s artistic aspects. Assuming to come from another planet, her presentation “A.I.R.” has a clear message and it uses the basic DJing tools combined with her sweet voice, able to lead to another dimension and integrate whoever isn’t from that galaxy to a unique sensory experience.

Because of her engagement in artistic and event productions, she founded the Gold Dome label - music label and fashion producer - and the intercultural project of artistic interventions/rave Redoma. Lourene’s trajectory and initiative in this area reverberated in audiovisual spaces in Curitiba, with both national and international repercussions until today. Her performance had a valuable role in terms of work in Social Psychology and related areas in Psychology of Art.

The positive effect in aspects such as freedom, diversity, inclusion, belonging, among others concepts that were always included in her studies and research, is undeniable and explicit. She did this through concepts that guided her performance in collaborations with both visual and musical artists, through estrangement and psychoeducation policies aimed at the public served in these 8 years of production in events, meetings and lectures.