SOMEWHERE INBETWEEN

The sound method used in this installation is part of my ongoing reflections between artistic practices and ethnography. The data collection and production of sound archives, sonorous poems, and storytelling are other ways of producing knowledge within a decolonial framework. From the different tracks overlapping in this sonic composition, I am interested in reflecting on the process of the multiplicity of histories, mixing past and present, languages, rhythms, and sonic materialities, which, from a colonialist approach, it is not possible to place them in the same timeline or the same “track.” Inspired by Johannes Ismaiel-Wendt’s work Tracks studies, I am interested in experimenting with the overlapping and looping of these migratory histories and other ways of listening to coloniality from a decolonial frame.

Listen HERE

For Chilean Conexión 2022, I was interested in bringing my archive of artefacts, soundscapes, interviews, and radio shows, which were collected and recorded in my PhD fieldworks; especially Italy, France, and Chile. I am reflecting on the possibility of the Sonority as an approach to political practices of listening through situated knowledge. I borrow the idea of decolonizing listening from the sound residence Tsunami-B.A.S.E. in Valparaíso, Chile. Their line of work focuses on how we listen, whether it is possible to approach the decolonization of listening, and to what extent this can be a liberating experience from the hegemonic power structures that define our ways of listening.

© Pablo Hassmann

I am focusing on sound & objects as memory: stories, place, and emotion, and how this memory could produce collective imaginaries and possibilities from decolonial and postcolonial discourse. I am exploring these sensory sound experiences further, using “listening together” as a kind of sound installation as a format for active listening within the community.