Born in 1958, Brazilian composer with an expanded artistic practice. They studied composition with Antonio C. B. Cunha in Porto Alegre and later with Isabel Mundry in Zurich (2006–12). Parallel to their music studies they completed a master’s degree in Transdisciplinary Arts at the High School of Arts in Zurich. 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 has received numerous grants and prizes and worked with ensembles and festivals such as Ensemble Mosaik, ensemble Recherche, NeueVocalsolisten Stuttgart, Ensemble Intercontemporain, Collegium Novum Zürich, Ensemble Adapter, Athelas Sinfonietta, InternationaleEnsemble Modern Akademie, Ensemble Talea, Wittener Tage für Neue Kammermusik, ECLAT, Maerz Musik, KLANG, Archipel, Manifeste, Darmstädter Ferienkurse, MUSICA, Nordic Music Days among many others.

Selected works: On the instability of current events for cello and trombone (with found objects) (2012–13), Trial and error for large ensemble(2013–14), re/wind/re/write for cello and percussion (with found objects) (2014), music while waiting / music while working for four musicians and three performers (2014–15), junkyard piece I for eight performers and found objects (2014–16), junkyard piece II for harp/piano, percussion, flute, clarinet and found objects (2015–16), junkyard piece II b, version for ensemble and found objects (2015–16), junkyard piece II c,version for quintet and found objects (2015–16), junkyard piece Ib for large ensemble of 12 performers and found objects (2016), Heads for two performers and video (2016–17), moloch machine, 1927 for large ensemble (2016–17), obsessive compulsive music for clarinet / saxophone, cello and piano (2017–18), in steps, cycle for five amplified voices and one performer (2018–20), junkyard piece III for minimum eight performers (2020), junkyard piece IIIb for minimum six performers (2020), ace holder for amplified ensemble, sampler and subtitles(2020–21), Exercise in metal no. 1 for four performers and piezo sequencer (2021), Looking Out Into a Room, site-specific scenographic concert format with an everchanging repertoire, developed for Neue Vocalsolisten Stuttgart (2022), Here and there, site-adaptable work for ensemble, live electronics, video and movable audience, developed for Ensemble Ascolta (2022–23), ADOLESCÊNCIA for two extended percussion sets, synthesizer/drum machine, e-guitar, clarinet/voice, live electronics and optional DJ (2022–24).