Billy John Bultheel

As a composer I use performance to ground music within a socio-political condition. My practice is research-driven, often starting from historical (medieval) musical phenomena to reflect on our current reality. From choir resonators in 15th-century Breton churches, or the lyrical maximalism of 14th century Ars Nova, to the gloomy predictions of apocalypse in 15th century tapestry, my work seeks out historical moments where music and the socio-political collide. Recently, the work of Henri Michaux and philosopher Emil Cioran made me interested in collapse as a political and sonic condition. Collaboration with other artists and musicians is central to my work.

HOW DOES YOUR SUBMITTED WORK RESPOND TO THE CIRCA 20:25 MANIFESTO?
The Jetty constructs metaphorical sanctuary within catastrophe itself. In my project ‘A Short History of Decay,’ performer Edwin Nasr holds a monologue in which he builds a symbolic jetty, protecting himself from an oncoming flood that quickly submerges the theatre. The jetty isn’t built for escape, but as a new platform for existence while familiar ground disappears beneath waves. This story rflects the current climate in Berlin, where political opinions not aligned with state policy are violently silenced. Made with Margarita Maximova, “The Jetty” gives visual location to this sanctuary from the first chapter of A Short History of Decay.

IF AWARDED THE £30,000 CIRCA PRIZE, WHAT 10-MINUTE WORK WOULD YOU CREATE – AND HOW WOULD IT EMBODY THE SPIRIT OF REFUGIA?
I want to develop Refuge in Echo, a 10-minute film documenting an extraordinary traveling instrument—part tower, part ear, part ruin—journeying through post-Trump America. This cinematic work follows my project’s US tour in 2026, tracking its passage from Miami’s marshlands to New York’s chaos, through Denver’s Rocky Mountain. At each location, the structure rebuilds and re-tunes, resonating with local musicians, activist groups, and atmospheric conditions. The film unfolds as a speculative travelogue merging sonic ritual and science fiction. It positions listening as endurance, resonance as resistance. The instrument becomes a temporary sanctuary and empowering bell tower, manifesting and transforming across terrains.

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Funding for the CIRCA PRIZE is generated entirely by the #CIRCAECONOMY, a circular model that reinvests proceeds from affordable art sold on CIRCA.ART into new public art commissions, charitable causes, art education and prizes. Since launching in 2020, the initiative has raised over £1 Million, placing artists and communities at the centre of an economy that continually reinvests in the future of art and culture.

The CIRCA PRIZE 2025 winners will be revealed LIVE in Piccadilly Circus on Monday 13 October, with a special 30-minute award ceremony starting at 20:00 BST. Don’t miss it!