Abstracts
Abstract
This text considers points of intersection between the arts of sound and visual arts institutions and examines their rapidly changing relationships from the beginning of the twenty-firstcentury to the present day. Combining an autoethnographic approach, drawing on the author’s curatorial work with sound-based practices as the director of the London-based commissioning art agency Electra, and sustained observations of broader issues emerging around sound-led work in the field of contemporary art, the text identifies a number of ways in which “sonic substance” enters visual arts institutions. The author considers how these dynamics have changed over the past twenty years and analyses ruptures that emerge along the way.
Keywords:
- arts of sound,
- sound in museums,
- sound art,
- contemporary art,
- curating
Résumé
Ce texte examine les points d’intersection entre les arts du son et les institutions d’arts visuels, et étudie leurs relations, en évolution rapide et constante, depuis le début du xxie siècle jusqu’à nos jours. Combinant une approche auto-ethnographique – qui s’appuie sur le travail de l’autrice avec les pratiques sonores en tant que directrice de l’agence artistique Electra (Londres) – avec une étude soutenue des enjeux entourant les oeuvres basées sur le son dans le milieu de l’art contemporain, cet article identifie un certain nombre de manières dont la « substance sonore » entre dans les institutions d’arts visuels. L’autrice examine comment ces dynamiques ont changé au cours des vingt dernières années et analyse les ruptures qui apparaissent en cours de route.
Mots-clés :
- arts du son,
- son dans les musées,
- art sonore,
- art contemporain,
- commissariat d’exposition
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Appendices
Bibliography
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Appendices
Note biographique
Lina Džuverović est commissaire d’exposition et maître de conférences en politique et gestion des arts au Birkbeck College, University of London. Ses recherches portent sur les moyens de faire de la sphère de l’art contemporain un lieu de solidarité et de construction communautaire. Auparavant, Lina a enseigné à la University of Reading, à l’izk – Institute for Contemporary Art et à la Technische Universität Graz (Autriche). Elle a également été directrice artistique de la Fondation Calvert 22, a fondé l’agence Electra (Londres) et a occupé des fonctions de commissaire à l’ica et au Lux Centre à Londres. En 2006, elle a été nommée Decibel Mid-Career Curatorial Fellow par l’Arts Council England. Parmi les projets pour lesquels elle a été la commissaire ou la co-commissaire, on peut citer Monuments Should Not Be Trusted (Nottingham Contemporary, 2016), Sanja Iveković – Unknown Heroine (South London Gallery/Calvert 22 Foundation, 2012-2013), IRWIN – Time For A New State (Calvert 22, 2012), 27 Senses (Chisenhale Gallery, Londres, 2010 ; Kunstmuseet kube, Alesund, Norvège, 2009), Favoured Nations, Momentum, 5th Nordic Biennial of Contemporary Art (Moss, Norvège, 2009), Perfect Partner de Kim Gordon, Tony Oursler et Phil Morrison (Barbican Centre, Londres, et à travers l’Europe, 2005) et Her Noise (South London Gallery, 2005).