Inside the book, my written piece and photo detail the wearable art I’ve been making for the street protests and political rallies we have held and attended over the past year. I describe how my practice adapted from making sound pieces for a gallery context or to release on vinyl, to text on cloth featuring hashtags and slogans.
A Sea of Salted Wounds – A Love for Panahi
But film makers all over the world always make films about the ills of their society. Perhaps the ministry ought to sit down to 24 hours of modern Western art-house for some perspective? It’s just a sign of our times.
Le Son 7 – Sound Art Exhibition
A body-less exhibition consisting only of commissioned sound pieces showed in both Paris and Buenos Aires[…]
Venice Biennial, in Audio and Print
If there’s anything Covid has taught us, with all it’s various concomitant lockdowns, is that no[…]
A Time for Field Recording, and Thoughts on Acoustic Ecology
How can sound can be a powerful indicator of environmental degradation, alerting us to changes before[…]
Magazine Article on ‘The Far Becomes Near’
The forthcoming Sharjah issue of Brownbook Magazine features an article I penned on my joint radio[…]
Agency of the Voice in Air
At the sound and arts conference Large Objects Moving Air this January at London College of[…]
In the Dead of Night, The Reeds Speak of Separation
An extract from my talk at English Literature Department at University of Bristol, 2017, Animal Utterances[…]
Venice Pavilion That Contains Neither Artists, Nor Art?
2017 Tunisian pavilion curator at Venice, Lina Lazaar explains her thinking behind a phantom art show,[…]
Oxford Handbooks
Harper’s Bazaar Arabia Commission, 2014. A chapter I’ve written on materiality in sound art is coming[…]