Salomé Voegelin is an artist and writer engaged in listening as a socio-political practice. Her work and writing deal with sound, the world sound makes: its aesthetic, social and political realities that are hidden by the persuasiveness of a visual point of view.
She is the author of three influential books on sound (The Political Possibility of Sound 2018, Sonic Possible Worlds, 2014/ 2021, and Listening to Noise and Silence, 2010) and has published numerous articles, papers and essays that explore and expand the field of art, culture and politics via sond and listening.
As a researcher she works at the forefront of the new knowledge field established by sound studies and sound art, turning to the invisible and mobile dimension of art and the everyday to achieve new insights that can formulate new questions and deliver novel answers to pressing issues in ecology, health, education and social exclusion. She is a well respected artist who exhibits internationally (e.g. Tabacalera Gallery, Madrid Spain, 2018 collateral event at Manifesta 12 Palermo, 2018). As a researcher she is regularly invited to give keynote addresses (e.g. UNAM, Mexico City, 2018, RE: Sound, Aalborg, 2019). And her link between research, practice and education has led to numerous invitations to teach and workshop worldwide (e.g. Doctoral School Ghent University, 2019, Harvard University, Radcliff Institute of Advanced Studies, 2020).
Voegelin’s practice engages in participatory, collective and communal approaches: Since 2008 she collaborates with David Mollin (Mollin+Voegelin) in a practice that reconsiders socio-political, architectural and aesthetic actualities and sites through the possibilities of sound, things, voices and texts. Their 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 often include further collaborators and take place internationally (e.g. Dokumenta 14 Radio, 2017, Manifesto of Rural Futurism, Melbourne Australia, 2019).
Voegelin's participatory initiatives bring sound making and listening to a collective and practice-based engagement: her blog soundwords.tumblr.com is the template for a public listening, performing and writing and has been practised internationally (e.g. Around Sound Art festival Hong Kong 2013, Liquid Architecture Festival in Melbourne, Australia, 2014, Srishti Outpost at Mill Hall - Collateral Venue, Kochi-Muziris Biennale 2017, Alberta University, Canada, 2018). Together with Mark Peter Wright she co-convenes, PoL, Points of Listening: a series of events which engage communal and solitary listening and sound making in current issues such as Hearing Diversity, Sonic Pedagogy, Care, Ecology, Gender and Technology.
Through curatorial performances she practices a notion of uncurating: curating not works, spaces and objects, but practices and ideas; making accessible an experience of theory as practice, and inviting an inhabiting of the work as world - to hear in their simultaneity the aesthetic and political plurality of their possibility.
Voegelin is a Professor of Sound at the London College of Communication, University of the Arts London, UK. She also currently represents the Professorship Klangkunst in den Kunstwissenschaften at Braunschweig University of Fine Art, Germany
She is the author of 3 influential books. Her publications articulate at the intersection between sound, politics, aesthetics, social responsibility and identity, and develop a critical listening to sound art and the everyday acoustic environment via phenomenology and possible world theory.
Salomé Voegelin writes and talks about sound, about the world sound makes: its aesthetic, social and political realities that are hidden by the persuasiveness of a visual point of view.
She has published numerous articles, papers, chapters and essays that explore and expand the field of political and aesthetic thinking via a sonic sensibility. She is regularly invited to give talks, performance lectures and presentations that produce a live investigation of her ideas and pursue a novel take on current aesthetic and socio-political tendencies and imaginaries.
The themes and research of her texts and talks are focused on the marginal, the invisible and at times even the inaudible, to challenge normative thinking and develop new and innovative engagements at its boundaries. To agitate this marginality she also practices a textual phonography and writes text scores, soundwords, which serve as a template for a collaborative writing and a participatory engagement in how we listen and what/ who we hear.
Salomé Voegelin's artistic practice develops as plural threads which however share a focus on the collective and the participatory. A common interest to all her approaches is the aim to get a different view, to shift and reset registers of the real, to syncopate what we think we see and know.
Since 2008 she works collaboratively David Mollin, Mollin+Voegelin, in a practice that employs words, things and sound and exists as performances, installations, texts and sonic pieces.
they own the night
and it tastes like hair
She also engages in shorter term collaborative working and performing with different artist, (e.g. Lisa Hall, Cath Clover, Jan Schacher, Daniela Cascella), and since 2014, she co-convenes with Mark Peter Wright, Points of Listening, a series of of workshops for practice and practice-based research, activities and discussions based in and around London.
Such a participatory working is also staged through her text score/phonographic writing blog soundwords, which presents the template for collective listening, writing, score making and sounding. Meanwhile her curatorial performances cross practice, curation and theory, to find in their juxtaposition and simultaneity a critical voice and experience of what we do and think.
Salomé Voegelin works at the forefront of the new knowledge field established by sound studies and sound art. She employs the necessarily inter- and cross-disciplinary nature of sound and listening to query and expand existing knowledge pathways; to cross-reference different fields (e.g. art, architecture, urban study, music, social science and science); and to develop new practice-based methodologies that can impact on traditional knowledge chains.
She is invested in the unreliable and ambiguous nature of artistic material and processes as a resource for new thinking and working, furnishing artistic as well as scientific research with unexpected questions, new methodologies, and ultimately novel answers. Her research develops new knowledge about art through practice-based investigations and engages in scientific knowledge through artistic processes: contributing artistic strategies and a sonic thinking to scientific and artistic methods and aims.
She is regularly invited to give keynote addresses, and her link between research, practice and education has led to numerous invitations to teach and workshop worldwide.
Currently, Voegelin is the PI on an AHRC, UK research council, funded project Listening across Disciplines II (2019-2022), which continues the network award of the same name (2016-17). The project seeks to establish listening as broadly applicable and legitimate knowledge tool. She has raised more than £500’000 funding for research today, and is passionate to redraft the boundaries of knowledge via art and sound.
She is a a Professor of Sound at the London College of Communication, UAL, a founding member of CRiSAP, (centre for Creative Research into Sound Arts Practice), as well as an established PhD supervisor and mentor who is experienced and motivated to support and guide early career researchers.
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