Although at first the work Sounds of War presents itself with a degree of playfulness and humour, a close inspection reveals its painful undertone. The sound installation by Laetitia Sonami is comprised by a series of toilet plungers retrofitted with speakers that audiences are encouraged to engage with. As viewers interact with the modified domestic objects, placing them over their ears, a soundtrack plays audio sourced by the artist from Youtube videos, which feature the haunting voices of women and children in several war zones (Srebrenica, Darfur, Fallujah, Gaza and Iraq). There’s an additional image accompanying the installation, featuring the darkened silhouette of a woman over a bright, hot-pink background. Emulating a popular advertising campaign where Apple introduced personal listening devices and the idea of a ‘personalised soundtrack’, Sonami highlights the unfathomable contrast between the sonic presence of bodies surrounded by either privilege or devastation and war.
Based in San Francisco, Laetitia Sonami is a French-born electronic composer, performer, sound installation artist and educator. She came to prominence in the late 70s through her pioneering work in the electronic music scene at a time where few female artists were experimenting with sound and technology. Her key early performances involved a self-designed wearable instrument called the ‘Lady’s Glove,’ which was a combination of black lycra fabric and electronic sensors that tracked the movement of her fingers, hand and arm, and transformed them into sound. In more recent installations, Sonami has focused on embedding everyday objects with kinetic and sonic personalities, applying new technology and media to her compositions, as well as combining text, music, and incorporating found sound. An important part of her sound performances is a focus on presence and engagement, often requiring interactivity from the audience. Her most recent projects include the design of a new instrument, the Spring Spyre, which is based on the use and application of neural networks .
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Jack Goldstein — La fulgurance de l’instant ou l’histoire fragmentée — Michèle didier Gallery — Exhibition — Slash Paris Login Newsletter Twitter Facebook Jack Goldstein — La fulgurance de l’instant ou l’histoire fragmentée — Michèle didier Gallery — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Previous Next Jack Goldstein — La fulgurance de l’instant ou l’histoire fragmentée Exhibition Mixed media Upcoming Jack Goldstein, The Burning Forest, on marbled red and white vinyl, 1976 Courtesy Galerie michèle didier Jack Goldstein La fulgurance de l’instant ou l’histoire fragmentée In 17 days: February 29 → May 4, 2024 Jack Goldstein (1945, Montréal — 2003, San Bernardino) est peintre et également auteur de films, d’enregistrements sur disques vinyles et de poèmes...
Jack Goldstein — La fulgurance de l’instant ou l’histoire fragmentée — Galerie michèle didier — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Jack Goldstein — La fulgurance de l’instant ou l’histoire fragmentée — Galerie michèle didier — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Précédent Suivant Jack Goldstein — La fulgurance de l’instant ou l’histoire fragmentée Exposition Techniques mixtes À venir Jack Goldstein, The Burning Forest, on marbled red and white vinyl, 1976 Courtesy Galerie michèle didier Jack Goldstein La fulgurance de l’instant ou l’histoire fragmentée Dans 17 jours : 29 février → 4 mai 2024 Jack Goldstein (1945, Montréal — 2003, San Bernardino) est peintre et également auteur de films, d’enregistrements sur disques vinyles et de poèmes...
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German Academy of Arts opens Otto Dix archive—and recalls a scandal Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Otto Dix news German Academy of Arts opens Otto Dix archive—and recalls a scandal Dix’s war painting The Trench, lost during the Second World War, is in focus at the opening Catherine Hickley 7 February 2024 Share Otto Dix's Der Schützengraben (The Trench) (1923) provoked a strong reaction when it was first displayed 100 years ago Photo: Hugo Erfurth, Akademie der Künste Berlin, Otto-Dix-Archiv A century after Otto Dix’s First World War painting The Trench (1923) provoked an outcry when it was displayed at the Prussian Academy of Arts in Berlin, the institution's successor, the Germany Academy of Arts , is opening to the public the inventory of the artist's works that he compiled—somewhat grudgingly...