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Transborder est un projet transfrontalier (Allemagne / France / Suisse) de recherches et de programmations autour des arts sonores. Dans le cadre de cette collaboration Sonic organisera une table ronde autour des pratiques sonores contextuelles avec Daniele Balit (Ita.), Yvan Étienne (Fra.), Matthieu Saladin (Fra.), Carsten Seiffart (All.), retransmise en direct sur Radio MNE le mardi 11 mars à partir de 17h30.
Depuis la création du terme sound art dans les années soixante, le travail d’installation sonore sur site spécifique n’a cessé de poser des questions d’ordre esthétique, social et politique. Ces installations souvent immatérielles et liées à des contextes particuliers s’inscrivent généralement hors des réseaux traditionnels de l’art et des musiques contemporaines dont elles questionnent l’économie. Depuis quelques années, le milieu de l’art contemporain s’étant fortement intéressé aux arts sonores, ces données inhérentes à ces pratiques ont été révisées aux profits de pièces sonores adaptables aux musées et aux galeries. Qu’en est-il alors de ces pratiques et de leurs utopies politiques originelles ? Théoriciens, curateurs et artistes présentent leurs pratiques et débattent de ces questions.

Dans le cadre de Triptic, avec le soutien de le fondation Pro Helvétia.
Coordination : Sonic.

On the contextual aspects in sound art practices. Tuesday, March 11 2014, 17.00
A panel discussion with Matthieu Saladin, Carsten Seiffarth and Daniele Balit.
As part of the Transborder cross-project between France, Switzerland and Germany, a curatorial and research project focusing on sonic arts, SONIC and Oslo 10 will be holding a panel discussion on contextual sound practices, bringing together Daniele Balit (it), Matthieu Saladin (fr) and Carsten Seiffarth (de).
Since the inception of the term “sound art” in the 60s, site-specific sound installations have been keeping on raising aesthetical, social and political questions. These often immaterial installations, which frequently relate to very specific contexts, usually operate in the margins of traditional art settings and contemporary music scenes, and call their economies into question.
In recent years, interest in sound art has been arising among the spheres of contemporary art, thus calling for some of the factors embedded in these practices to be reconfigured as to be able to fit into museum and gallery spaces. In such circumstances, what can become of these approaches and of their seminal utopian politics ? To discuss these utopian takes on sound art, and reflect the other events presented by the Transborder partners, Yvan Etienne brings together scholars, curators and artists who will hold a conversation on these matters and introduce their practices of sound art.


Carsten Seiffarth, was born in 1963 in berlin; 1986-1988 orchestral music studies at the franz liszt school of music, weimar (trombone); 1988-1989 visiting student at the humboldt university berlin art history, asthetics and philosophy, 1990-1993 musicology/sociology studies at the tu berlin. from 1991 on, freelance project work as: curator, producer, dramatic advisor, organisational management. curated solo and group exhibitions, for example in berlin, krems, witten, rotterdam, düsseldorf, dresden, wien, linz, saarbrücken, chemnitz, odense, stuttgart, sibiu, luxemburg, zagreb, new york, bergen, belzig, oldenburg, weimar, etc. editor of several books, singuhr – hoergalerie, tesla media art lab berlin, paul demarinis, gordon monahan, etc. 2005-2007 member of the artistic direction of the media art laboratory tesla in berlin. 2011/2012 artistic director of sound exchange, a project about experimental music cultures in central and eastern europe. since 2010 curator and artistic director „bonn hoeren“, urban sound art in bonn and since 1996 curator + artistic director “singuhr – sound gallery”, berlin.

Daniele Balit is a curator and art historian. He is a founding member of the curatorial venue 1:1 Projects (Roma) and initiated Birdcage, a travelling project-space based on sound practices. He holds a PhD in Art History at La Sorbonne University – Paris 1, with a thesis about the origins of sonic experimentation and their impact on exhibitional contexts. He co-founded the OuUnPo — Ouvroir d’Univers Potentiel (“Workshop for potential universes”) collective. He has been coordinating the artistic activities for the Vision Forum organization at Linköping University, Norrköping, Sweden (2008-2010). Among other exhibitions and projects, he curated « If you don’t want God, you’d better have a Multiverse » (for which he co-organized seminars in Roma, MACRO Museum, in Paris, Fondation Kadist, and in Skopje, Press to exit project space) ; « The Invisible Generation » Melbourne, Margareth Lawreance Gallery ; « Heavier Than Air », Prague Triennale ; « Neterotopia », Palais de Tokyo, Paris ; Careof, Milan ; New International Cultural Center, Anvers ; « Do Not Go Gentle », Museum of Time and Art School of Besançon ; « Blow-up », Jeu de Paume – Espace virtuel, Paris –
Matthieu Saladin holds a PhD in Aesthetics, and teaches Art Philosophy at Haute Ecole des Arts du Rhin, where he is a member of SONIC research lab. He is also research associate at ACTE institute (Paris 1 University – Panthéon-Sorbonne, CNRS UMR 8218). His research focuses on experimental music and sonic arts. He is a member of the editorial board for the reviews Volume ! and Revue & Corrigée, and is the editor-in-chief of the research review TACET. He is also an artist and musician, with a conceptual approach reflecting on the history of artistic forms and processes, as well as on the relationships between art and society.