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uncurating is not an impetus against curating, nor is it a deliberate

non curating, the pretense of an anything goes, but an effort of decurating

and recurating via a sonic sensibility: curating not works, spaces and objects, but making accessible an experience of the invisible, the audible and the

as yet inaudible; not to conjure up judgment but to invite an inhabiting of

the work as world - to hear in its invisibility the aesthetic and political

plurality of its possibility.


The aesthetic inaudible is ‘badly behaved’ in relation artistic and musical expectations. It falls out of the pale of language of art to sound inaudibly

something else. It remains unseen and unheard, it cannot break into the frame

of visibility and audibility to be seen and counted within the work and yet it is

the critical edge of artistic production, where it makes audible, sensible and thinkable new slices of the work as variants of the same work that expand what

that work is.



The inaudible is what advances composition and sound art production not towards an ideal but towards new sounds, and it is what keeps on opening the sound work and my perception of it not towards a whole but towards the inexhaustible plurality of its slices. However, the aesthetic inaudible is not the ‘avant-garde’, the front runner, of artistic production, it is a much humbler inarticulation that is below and beneath the work and remains unheard and unsound.

It is what the curator needs to make accessible in the staging of the work even though she does not hear it himself. Since, the inaudible thing of sound is the real object of sound curation: not to make us hear correspondences, the known, the referent, its value and worth, but to make us listen for what else might sound, to hear that in the work which has as yet no articulation and validity but provides its strength and weight.

The inaudible refuses taste and style and knows no right sound, no actual music, but haunts the formless shape of organised, deorganised and reorganised sound, and ensures the unfinishedness and imperfection of the work. It does not permit taste as it knows no reference to orientate its discernment by, and defines no value but enables the reflection of its rational.

It remains unheard and yet we sense it in what remains unrecognizable, unreferenced and alien. It is not a tone, nor a signifier, it has no semantic meaning, but swings in the sounds of the possible to give them a thickness and duration that is not a present memory but a future audition. The aesthetic inaudible is contingent and contextual, and while we cannot hear it at the time we can guess at its location and impact in hindsight.

The inaudible is the aesthetic, political, ideological and social horizon of the work, beyond which we pretend not to see anything even once we start to hear it rumble, and beneath which are hidden those things that once did sound but which have now become silent, but are often not yet mute.


uncurating seeks the audible and the inaudible anew all the time, embracing its passing ephemerality it embraces its own essence in disappearance, and accepts this fleeting property not as a structural necessity but as a generative designation.

http://clickanywhere.crisap.org/