Curating Sound Panel Discussion

Visual arts institutions are by no means new to the ‘arts of sound’, given the confluence and cross-pollination between music, live art and visual art throughout the second half of the twentieth century. From the 1960s onwards, artists’ expanded practice has ushered sound in various guises into arts institutions, a road already paved by the Italian Futurists in the first decade of the twentieth century. Sound has been leaking into museums and galleries through artist/musician collaborations, in the form of soundtracks or as ‘noise’ that is part and parcel of live art.

Whether it rode in on the coat-tails of Warhol’s factory, video art, art bands, Fluxus, performance art or simply in the form of artists’ ephemera available as commodities (CDs, records, tapes) in museum bookshops, the presence of sound in art institutions and museums, traditionally built to serve the function of showing visual art, is not a new phenomenon. However, until recent years sound in itself has rarely been the focal point of exhibitions. It is only in the past two decades that we have begun to witness the emergence of exhibitions solely devoted to the arts of sound (or the use of sound as a medium). This suggests that visual arts institutions are beginning to engage with sound as an artistic medium, as opposed to approaching it as secondary, or as an accompaniment to visual art or the moving image.

The panel considers the conceptual as well as practical challenges that arise when working with sound-based practices in visual arts spaces.

The panel discussion Curating Sound took place at Calvert 22 Gallery on 27 June, 2013 as part of the exhibition Sounding The Body Electric: Experiments in Art and Music in Eastern Europe 1957–1974

Panellists include: David Crowley, Daniel Muzyczuk, Curators, Sounding The Body Electric; Aura Satz, Artist; Nathaniel Budzinski, Editor, Cross Platform Section, The Wire Magazine.

Chaired by Lina Džuverović , Artistic Director, Calvert 22 Foundation