Sound Art Curating Conference



Thursday 15 and Friday 16 May 2014 (timings to be advised)

Ben Pimlott Lecture Theatre, Goldsmiths, University of London, New Cross, London SE14 6NW

Saturday 17 May 2014 (timings to be advised)

Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN

dates and times of Sound Art Curating conference with image depicting sound - parallel circular lines in a triangle


Speaker(s): to be advised

Ticket/entry details: Free and open to all. Register online: http://ocradst.org/soundartcurating/registration

Organised by: James Bulley (Goldsmiths, University of London), Jonathan Munro (Watermans Art Centre), Irene Noy (The Courtauld Institute of Art) and Ozden Sahin (Goldsmiths, University of London) in collaboration with Operational and Curatorial Research in Contemporary Art, Design, Science and Technology (OCR)

Traditionally, the curator has been affiliated to the modern museum as the persona who manages an archive, and arranges and communicates knowledge to an audience, according to fields of expertise (art, archaeology, cultural or natural history etc.). However, in the later part of the 20th century the role of the curator changes – first on the art-scene and later in other more traditional institutions – into a more free-floating, organizational and ’constructive’ activity that allows the curator to create and design new wider relations, interpretations of knowledge modalities of communication and systems of dissemination to the wider public.

This shift is parallel to a changing role of the artist, that from producer becomes manager of its own archives, structures for displays, arrangements and recombinatory experiences that design interactive or analog journeys through sound artworks and soundscapes. Museums and galleries, following the impact of sound artworks in public spaces and media based festivals, become more receptive to aesthetic practices that deny the ‘direct visuality’ of the image and bypass, albeit partially, the need for material and tangible objects. Sound art and its related aesthetic practices re-design ways of seeing, imaging and recalling the visual in a context that is not sensory deprived but sensory alternative.

This is a call for studies into the histories, theories and practices of sound art production and sound art curating – where the creation is to be considered not solely that of a single material but of the entire sound art experience and performative elements.



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