Salomé Voegelin is an artist and writer engaged in listening as a socio-political practice of sound. She is the author of Listening to Noise and Silence: Towards a Philosophy of Sound Art, Continuum, NY, 2010, which has achieved national and international recognition for offering ‘a refreshing departure from the many surveys of sound art’ (Michael McCrea, Sound Art, June 2010) and for ‘making a powerful case for preserving the “immersive complexity” of auditory experience against a critical language, that […], is always guided by the imperatives of the visual’ (Montgomery, The Wire, August 2010). Her second book Sonic Possible Worlds: Hearing the Continuum of Sound, was published by Bloomsbury in June 2014. It adapts and develops possible world theory in relation to sound to produce a meeting of the semantic and the phenomenological at the place of listening. David Rothenberg, writing in The Wire (370, December 2014), suggests it ‘might change the way you listen, and increase the depth of your questioning and wondering.‘ and Marcel Cobussen, calls it a ‘provocative and challenging endeavor to take this necessary discussion to a high scholarly level without losing the connection with the art works themselves.’ (Journal of Sonic Studies, Her most recent publication Colloquium: Sound Art - Music, Zero Books, Winchester, 2016, co-edited with Thomas Gardner, makes the relationship between sound art and music colloquial, spoken and practised rather than a matter of disciplinary boundaries.

Her sound arts practice addresses the aesthetic, social and political realities that are hidden by the persuasiveness of a visual point of view and find expression in installations and in the performative, as well through curatorial and participatory works and initiatives. These take the form of gallery exhibitions, site-specific work and collective activities as well as publications and radio broadcasts. While her solo works observe seemingly trivial everyday activities, minor events or quotidian rhythms: things that are barely noticed or almost fail to happen are staged, agitated and overtaken by the sound, her collaborative practice with David Mollin (Mollin+Voegelin) has a more conceptual basis and reconsiders socio-political, architectural and aesthetic actualities and sites through the possibilities of sounds, things, voices and visuals. The work takes the form of installations that as “dispositifs” lend shape and a setting to the performances that happen within them, and that in turn expand the installative material in a life mode. Voegelin and Mollin’s collaborative installations, performances and compositions have been shown for example at Artisphere, Washington DC, US in 2014, as part of Liquid Architecture Festival 2014, at Lydgalleriet in Bergen, Norway 2014, at the Riehen Kunstraum, Basel, Switzerland 2015 and as part of the  partner programme of the 6. Marrakech Biennale 2016. Currently they are showing work at La Tabacalera Gallery in Madrid, Spain (30 November 2017 - 02. February 2018) part of FASE 6 curated by Alex Arteaga and are working on a site specific Art and Architecture commission in Bern, Switzerland.

Voegelin’s practice, her listening and writing brings the philosophy of sound to a participatory engagement: her blog is the template for a public listening, performing and writing and has been practised, for example as part of a residency at Around Sound Art festival and conference in Hong Kong 24 January to 7 February 2013 (, as part of Liquid Architecture Festival in Melbourne, Australia, August/September 2014, and at Sound Reasons IV in Delhi 2015, and most recently at Srishti Outpost at Mill Hall - Collateral Venue, Kochi-Muziris Biennale 2017.  She co-convenes, PoL, Points of Listening, with Mark Peter Wright, ( which engages collective and solitary listening  and sound making across London.

She is the curator of clickanywhere, - an online exhibition of spoken and written work and has curated three events of sound art at the Swiss Church in London and through her curatorial performances she is developing a notion of uncurating: curating not works, spaces and objects, but practices and ideas, 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.

Voegelin has a PhD from Goldsmiths College, London University, she is a Reader (Associate Professor) in Sound Arts at the London College of Communication, University of the Arts London.  



                                                                                                                                  List of Publications and Exhibitions