So what the *&*@#&$@)*$& is sound art?


Maybe I’m getting old, but that seems a little harsh. I think there’s actually something else afoot. Let me try to get there.

Any statement that talks about art is problematic, and having the word ‘sound’ in there is only a small part of the deal. The question ‘what is art?’ is a well known idea pit. Like the famous money pit, you can keep on throwing ideas into it and never touch the bottom. Some people refuse to answer the question on that basis, but I am protected by being a ‘dumb-fuck musician’, and like the small child, can endlessly fail to see the clothes.


If the bed had been made up, would it have sold for less? That’s a pretty profound art thought right there.

Duchamp is a guide and he points out that an unseen painting is not yet art. When it is displayed the audience provides the other side of an alchemical process, where two ingredients form a greater impression than the components. The gallery is nothing without the painting and vice versa, the two combine to create the art. And the roles of artist and curator are entwined, to the extent of antagonism from each recognising the forced collaboration.

If you accept a ready made by Duchamp as art, then why not the Tracy Emin bed? I personally don’t accept the bed – here’s where I part with Duchamp by saying that the inscrutable is required. Not all the energy comes from addition, some of it comes from what is hidden – even from the artist themselves. I call that ‘the birds’, which are the pricks and urges that compel creation and made poor Henry Darger an artist long before his books were discovered by the culture industry. Duchamp was compelled by things he did not know and says so, which makes me think he talks about ‘art’ in a different meaning to his own creativity. All the evidence I have is that Emin executed a single idea according to plan. For me Emin is a designer that provided a site and culture specific public exhibit.

None of this is categorical. Marclay’s The Clock is also obviously a single idea according to plan, but becomes inscrutable by the sheer excess of process – the unreasonable amount of execution. Marclay has (among other achievements) taken process up to the more human level of obsessiveness, and the result is therefore more interesting than the cold schema would suggest.

(This is the worry with the ‘production thesis’ or any attempt to measure and force metrics on creativity. But that’s another problem.)

‘Sound art’ is no better or worse than any ‘X art’ really. From what I am hearing the ‘sound’ is such a minor part of it that the distaste of musicians is overwrought. There may not be any sound involved and in general music is still alien to the visual arts. When I asked about one particular work, the artist conceded that it could be a ‘video’ piece in that there was a signal, some noise that disrupted the signal and an interesting response from the people affected by the disruption. But he pointed out that ‘video’ still is a visual art and that’s the problem.

I asked what then is the point of sound art, and he said that it was about thinking with sound. That is, so much thinking with visual art has only got so far – vision is limited in where it can go, and there are experiences and ideas and inspirations that could come from thinking outside of images. I can’t fault the idea of expanding the tedious old ‘ways of seeing’ to become ‘ways of seeing and listening’, and I think we can all agree that this brings something more. In the negotiations for space and recognition there are going to be compromises, but the movement as a whole is worth the support.

Thinking with …

However this last Friday I was accidentally at a book launch and heard from a panel of art historians about an exhibition in the Venice Biennial in which an older exhibition was completely recreated, up to building copies of the walls of the old gallery space in the new. I wasn’t entirely clear whether this was a good or a bad thing as the panellists insisted on talking International Art English.

But it struck me how certain they were that this was an earth shattering idea – that a curator could now put on a show which reiterated the work of an earlier curator. While they bickered about who was the most important person involved old or new, at no stage did they touch on the most obvious failing of the whole idea – that the original exhibition had the artists come and work with the space. The copy just took the works out of whatever museum they had entered and placed them back in roughly the same spot. Artists didn’t matter except as a name check list. It was what Stockhausen would call a postcard of the original performance and God know why the authenticity of the bloody radiators was worth so much discussion in comparison.


Authentic Bern radiators, something that requires a fair bit of Thinking With Curation.

Anyway, several times throughout the talks one or more would talk about thinking with curation with such nonchalance that it must be a commonplace in their own ivory tower. This is more worrying than ‘sound art’ – a deeper, more encompassing point of view where any practice that doesn’t run fast enough will be absorbed into ‘thinking with…’.

Immediately it’s our duty to find as many examples as we can. Thinking with spray cans. Thinking with pasta. Thinking with Twitter. Thinking with not thinking too much.

10 thoughts on “So what the *&*@#&$@)*$& is sound art?

    • Er… obviously I failed somehow because I just wrote a post on what in laymans terms ‘sound art’ is to me.

  1. I am disappointed your blog is the only hit for “thinking with curation.”
    Or perhaps herein lies opportunity greater than previously imagined!

  2. you fucking suck. youre a fucking rantathalete.
    shut the fuck up and keep your stupid comments to yourself.

    • Woah dude you’re so cool and edgy. All the kids in high school just keep out of your way! You said the f word more than once, like you just don’t care! Awesome!

      Anyone who wants to learn how to be hardcore and cool like this guy contact to learn about the 80’s lifestyle!

      • No relevant comments yet are made and I think thats a pitty so I will do my best.
        When art becomes inscrutable you tend to lose audience. For some artists and audiences that is a real problem. So I guess they maneuver into all kinds of bends and postures to solve that problem. Making a spectacle of the happening itself, not what is shown. This is a part of the broad spectrum of art. Something that will exist because it can. If you agree with it or not is another aspect – and because it’s your blog – you are totally in place to say whatever you want. And I agree. If art mimics live, I rather live that live not searching for comfirmation of my ego and flee eachother, but focus on what is my personal relation with sound, objects and concepts. But then again, I don’t have the feeling that that’s a choice…

        I didn’t say allot, just confirmed your feeling about the subject in myself, but I had the feeling it needed to be said because it’s atleast allot more substantial then the other replies.

  3. Hobscure: “When art becomes inscrutable you tend to lose audience.”

    Do you think so? I agree that when it doesn’t touch the audience at all then it becomes aloof and uninteresting. But we enjoy weirdness and mystery and not quite knowing how things are going to end. So somebody being self indulgent and somebody being unsure of what the hell is happening is a tipping point for me at least.
    Music that doesn’t follow genres is a good example.

    • It depends allot on who we call the audience. You aren’t talking about my mother, but people with some experience in the art world who aren’t easily overwhelmed by the inscrutable and driven by conventions. I allways try to strike a bridge between those two. My bad.

      Overall we tend to be drawn in by the mystique, but at the same time it’s difficult to make this the subject of a work alone. So artists come up with all kind of constructions to say “I keep this in and leave that out”. What choices are made says allot about the artist and the time. For me too the questioning is more important and richer as a subject, but I can imagine a dialogue just as rich could be created out of self indulgment by some people.

      • I reckon your mum still enjoys a bit of mystery – like not knowing the ending of film. And sometimes people enjoy hating on art, rejecting something that they would otherwise not even tried, a different flavour. They feel good for knowing that they don’t like something.

        Dialogue is exactly the right word and you’re right that the maker should consider where they will be ‘talking’. I like to present music that fits the venue, that seems such a simple concession to community. If you go to an experimental gallery you’d be sad if it was all just landscapes and having something ‘mute by malice’ in a public space is a waste as well. Artist statements are as you say – too often self indulgent or at least confusingly self referential.

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