Beyond Voice
Me, you and everyone who is listening

A solo show by Anna Raimondo
With a critical response by Lucia Farinati

23.04.2014 – 28.06.2014
opening 23.04.2014 from 6:30 p.m



Beyond Voice explores the relational horizon of voice and its linguistic and political implications.Me, you and everyone who is listening are the implicated subjects of a journey that starts whenever we hear the call. But who is calling?
It has often been said that the voice stands at the intersection of body and language, but this intersection, as Mladen Dolar has remarked, belongs to neither. Although voice can be described in terms of pure sound phenomena (the sound emitted through the cavities of the body) its common (or essential) destination is speech: phonemes, words, sentences, in short, language. Voice can also be understood, in a metaphorical sense, as the process of giving an account of yourself, a gesture, if not a desire, to tell who you are, before telling what you are. Voice is, in this sense, the embodied expression of uniqueness. Beyond linguistic structure and articulation it is always the manifestation of human singularity.
Anna Raimondo has traversed the urban space in order to enter or intrude into others’ acoustic territories. She has declaimed her personal statements in the street and collected written encouragements from women that have been inspired by other women. She has created a playlist for a “Gender Karaoke” and also arranged a special mix of arousing sounds that everyone can play and activate through their own portable device. Who is calling here, is the performative voice of the artist, a voice that invokes, interrogates and provokes the other through body gestures, recorded utterances, sonic interventions and linguistic détournements. As the artist states:  “I am not interested in the pure sonic dimension of voice, but above all in the implications of voice”.
By embracing the very idea of listening as the moment of sharing and inter-subjectivity, this exhibition brings together a new body of video and audio works in which the boundaries of public and private experience are investigated and overturned. Departing from radio and immerging herself in the flow of everyday life, Beyond Voice is not a metaphysical journey, the mere solipsistic act of hearing oneself speaking, but an invitation to take part in the complex and contagious process that listening to voice(s) implies. A gesture launched into the air which implicates the listener with his/her own answers and response(abilities).

Anna Raimondo is an Italian artist based in Brussels. In 2012, she completed a MA in Sound Arts at the London College of Communication (University of the Arts). Since then, she has been invited to several international exhibitions and festivals including the 5th Marrakech Biennale (Ma); Espace (IM) Media in Sporobole Art Center (Sherbrooke, Ca); Dirty Ear at Errant Bodies (Berlin, De); the public art festival Paraphrasing Babel (Maastricht, Nl); Ruído Branco at the Jaqueline Martins Gallery (São Paulo, Br); the Nouzah Fenia – Festival de Casablanca (Ma). Her radiophonic works have been broadcast in different countries and languages: Kunst Radio (At); Deutschlandradio Kultur (De); ArteRadio (Fr); Rai (It) ; RTBF (Be). Her curatorial projects mainly focus on sound and radio art and have been presented in such venues as the V&A Museum (London, Uk) and Le Cube-Independent Art Room (Rabat, Ma). With Younes Baba-Ali, she co-curates Saout Radio, a platform for sound and radio art based in Morocco. With Amélie Agut, she initiated the itinerant radio project on sonic memories, Echoes. Raimondo’s research explores listening as both a political and aesthetic experience, using sound as a tool to create relational spaces. By voice, language and sonic ambulation, in-between performance and interventions in public space, her work proposes a negotiation between verbal and non-verbal communication, while inviting the audience’s active involvement.

Lucia Farinati (It/Uk) is an independent curator based in London and the Director of Sound Threshold, an interdisciplinary curatorial project that explores the relationships between site, sound and text. She studied on the Curatorial Programme at Goldsmiths College, (London, Uk), Public Art and European Cultural Planning at De Montfort University, (Leicester, Uk) and History of Art and Aesthetics at the Faculty of Humanities, University of Trento (It). She has collaborated with many sonic art projects and radio initiatives including Dirty Ear Forum, bip bop, Sound Proof 5, Errant Bodies, Audio Arts, e-Xplo, Resonance 104.4 FM, Institution of Rot, Radio Papesse and Radio Arte Mobile. She co-edited Transmission, a book commissioned by Sound and Music for the 8th edition of the Cut & Splice Festival, (London, Uk) 2010 and is currently researching and writing The Force of Listening, a book on the role of listening in contemporary conjunctions between art and activism.


Arte Contemporanea Bruxelles | Rosa Anna Musumeci
22, Rue des Chevaliers B-1050 Ixelles Bruxelles
e-m info@artecontemporaneact.com
mb +32 (0)496 67 33 16
web http://www.artecontemporaneabrussels.wordpress.com

open Tue. – Fri. 4:00 p.m – 8:00 p.m
or by appointment

Fearless radio Curated by Saout Radio (Younes Baba-ali and Anna Raimondo) for Kunstradio. February-March 2014.

Broadcasts : Radio Österreich 1 – 92.0 FM Wien (At) On streaming : http://www.kunstradio.at

Abu Lawrence Hamdan Sunday, 23. February 2014, 23:03 – 23:59

Aurélie Lierman Sunday, 2. March 2014, 23:03 – 23:59

Meira Asher Sunday, 9. March 2014, 23:03 – 23:59

Magdi Mostafa Sunday, 16. March 2014, 23:03 – 23:59

Simohammed Fettaka Sunday, 23. March 2014, 23:03 – 23:59


Could radio be a medium of resistance?

Resistance to the economic system?

Resistance to politic discourses?

Resistance to taboos?

Resistance to main tendencies and aesthetics?

But over all what does it mean to resist?


The starting point of Fearless radio is Foucault’s concept of “fearless speech” also defined as parrhesia, considered as “a verbal activity where the speaker has a specific relation to truth through frankness, a certain relationship to his own life through danger, a certain type of relation to himself or other people through criticism (self-criticism or criticism of other people), and a specific relation to moral law through freedom and duty.”1 Focusing on radio language, artists could integrate the verbal activity but they could also embrace the possibility of electronic sounds, noises and soundscapes to propose a sonic fearless speech. What happens then if we replace in Foucault’s definition of parrhesia, “verbal activity” with “radio language”? The possibilities of telling personal truth without fear multiply. We articulated our proposal inviting 5 artists to become “true tellers”, “fearless speakers” using radio as a way to express parrhesia, “using freedom and choosing frankness instead of persuasion, truth instead of falsehood or silence, the risk of death instead of life and security, criticism instead of flattery, and moral duty instead of self-interest and moral apathy”2. Each artist uses the radio slot given by Kunst Radio preparing a specific fearless radio show, presenting new productions but also older works relevant to the main intent of the series. Abu Lawrence Hamdan, whose research is mainly focused on the relation between voice and juridical listening and speaking, focuses here on the relation between voice and the act of telling the truth. In “Aural Contracts Audio Archive mix” he proposes for Kunst Radio a sonic narrative based on audio extracts from his archive. The listener is invited to immerse in a reflection about the relationship of listening to politics, borders, human rights, testimony, truth and international law. Aurélie Lierman (born in Karago, Rw in 1980) tells her truth through a fearless score, which goes beyond taboos and classic aesthetics. Using spoken word, field recording, instrumental improvisation she sonically responds to the poem ‘Politics Of The Nose’ written by David Mwambari (Rw), echoing the Rwandan genocide in 1994. In her new production “Anosmia”, listeners can follow her voice and her body in different acoustic spaces, they can hear the risks she took in recording in public space in Rwanda and listen to her duty to discuss the actual law in Rwanda which even forbids to use the word “Tutsi” and “Huti”. Meira Asher (born in Tel Aviv, Israel in 1964) proposes for “Fearless Radio” the new work “refuse: military (01)”. Again in this work there is a voice, this time a computer voice representing the voice of Noam, who recently refused to serve in the Israeli army. Fragments of clashes in occupied Hebron are juxtaposed with those of an electroacoustic prepared typewriter. Listeners are transported in a violent space in which the intimate voice of the artist arises with some political questions around militarism and minors. Could the sound of the typewriter be interpreted as the intimate voice of the artist’s truth? Could this work be considered as a letter from the artist to the listener? Fearless Radio could also be interpreted as a way of proposing “fearless aesthetics” in telling the truth, experimenting with sonic languages. This is what the audience can find in Magdi Mostafa’s narrative of noise (born in Tanta, Eg in 1982). The artist keeps a conceptual approach in investigating the dialogue between sound and space, sound and memories. His radio show sonically investigates his surroundings, mapping the affects of globalisation on local traditions, the phenomenological experience of the individual in the city, and interpersonal relationships, as well as the notion of public space. Simohammed Fettaka (born in Tangier, Ma in 1981) started from the statement that personal is political. In his feature he explores the politics of sex in a choral work based on interviews and soundscapes made in Paris. In the Fearless Radio series, the medium itself is interpreted as a space of negotiations of meanings, an ephemeral plaza or a “sonic agora” in which each time an artist launches his or her truth in search of listeners. According to Foucault’s definition of “fearless speaker”, this person is someone who opens his mind and his heart to other people; but what is demanded of the audience in order to understand his or her truth? The potential of dialogue is in the process of listening. Anna Raimondo + info : http://www.kunstradio.at/2014A/23_02_14.html — con Magdi Mostafa e altre 4 persone.



Ici. maintenant. où?
here. now. where?

Du 25 Février au 2 mars 2014.
From the 25th of February to the 2nd March 2014.
من 25 فبراير إلى 2 مارس 2014.

Projet participatif de déambulation sonore dans les taxis de Marrakech, initié par Younes Baba-Ali et Anna Raimondo, pour la plateforme d’art sonore et radiophonique Saout Radio, dans le cadre de la 5ème Biennale de Marrakech.

A participatory project of sonic ambulation in Marrakesh’s taxis initiated by Younes Baba-Ali & Anna Raimondo for Saout Radio, platform for sound and radio art, during the 5th Biennale of Marrakech.

مشروع تشاركي لجولة صوتية عبر سيارات الاجرة بمراكش. تحت إشراف يونس بابا علي و انا ريمندو.لصالح مشروع الفن الصوتي و الاذاعي »صوت راديو

Skin Voice

Performance radiophonique par Anna Raimondo


Le 17/01, Musiq’3 et 22 autres radios publiques célébraient l’Anniversaire de l’Art, événement organisé chaque année par l’UER. Lors de cette soirée, les radios participantes s’échangent des “cadeaux sonores”. Celui de Musiq’3 se présentait sous la forme d’un jeu avec les auditeurs : une artiste mystère, Anna Raimondo, a fait entendre sa voix en direct, ainsi qu’un montage d’extraits sonores (sa voix dans différentes situations, la voix de membres de sa famille…). Le but était que nos auditeurs nous téléphonent pour la décrire en direct.

« Skin Voice » est un espace interactif, où le public est invité à téléphoner à la radio et devenir parti active de l’émission en directe. En demandant aux auditeurs de décrire minutieusement le corps, le visage et la façon d’être de la personne qui leur parle du studio,  la performance devienne un moment méta-radiophonique qui détourne ironiquement le mystère de la voix radiophonique.


Voici un extrait:


Open call : Here. Now. Where?
Deadline : 18th January 2014
A participatory project of sonic ambulation in Marrakech’s taxis.

Saout Radio’s proposal for the 5th Marrakech Biennial (February the 25th -  March the 2nd).

Find out more information below and don’t hesitate to spread the information.
For more information: http://www.saout-radio.com or info@saout-radio.com


Appel à participation : Ici. Maintenant. Où?
Date limite: 18 Janvier 2014

Projet participatif de déambulation sonore dans les taxis de Marrakech.
Une proposition de Saout Radio pour la 5ème Biennale de Marrakech (du 25 Février au 2 Mars 2014).

Vous trouverez ci-joint plus d’informations et n’hésitez à diffuser cet appel autour de vous.
Plus d’info: http://www.saout-radio.com ou info@saout-radio.com

دعوة للمشاركة
آخر أجل: 18 يناير 2014
هنا، الآن، أين؟
مشروع تشاركي لجولة سمعية في سيارات أجرة مراكش.
مشروع تقدمه صوت راديو من أجل البينالي الخامس بمراكش ( من 25 إلى 2 مارس 2014).
 من أجل معلومات أكثر : info@saout-radio.com أو http://www.saout-radio.com

« Marsiglia parla italiano »

En direct, Vendredi, 13h30-14h30

Radio Grenouille (88.8 Fm à Marseille ou en streaming


Une proposition par The Workshop et Anna Raimondo.


© Silvano Magnone

« Marsiglia parla italiano » est une émission qui dure le temps d’un déjeuner, café et dessert inclus.  Un espace radiophonique qui sonne en deux langues, italien et français.

Qu’est ce que t’évoque quoi le mot Italie ? Comment reconnais-tu un italien dans la rue ? Quel est le coin de Marseille le plus italien selon toi ? Prends ton temps pour mâcher doucement et suis les voix de Aimée, Anne-Marie, Nicole, Joseph et Simone. A la carte : un assortiment de mots, chansons, recettes, micro-trottoirs et sons méditerranéens.

« Marsiglia parla italiano » c’est le résultat de l’atelier réalisé par Anna Raimondo dans le cadre des propositions pédagogiques pour l’apprentissage des langues dans les espaces seniors de Marseille organisées par l’association The Workshop (www.theworkshops.fr) à l’espace Senior Hozier de Marseille.

De courts extraits des oeuvres sonores présentées par les artistes Chantal Dumas, Anna Raimondo et Erin Gee pour la Vitrine Sonore de Sporobole.

Shorts audio extracts from the works of artists Chantal Dumas, Anna Raimondo and Erin Gee for the Sound Window at Sporobole.

La Vitrine Sonore est un dispositif permanent de projection sonore qui longe la façade de Sporobole, le long du trottoir de la rue Albert. Constituée de 16 haut-parleurs, elle permet un contact direct avec les passants qui, de la rue principale du centre-ville de Sherbrooke – la rue Wellington – se rendent au stationnement à étages voisin de Sporobole. La disposition linéique des 16 haut-parleurs et la position de la Vitrine Sonore à l’interface géométrique entre Sporobole et la voie publique font de cette nouvelle galerie sonore extérieure une plateforme singulière de spatialisation et de projection sonore d’oeuvres en arts audio. Elle autorise des approches de compositions sonores spatiales fixes ou en mouvement; elle offre, d’un côté, un point d’écoute de proximité alors que les passants sont exposés à un ou quelques haut-parleurs et elle peut, d’un autre côté, fournir un point d’écoute global à partir de la rue. Pour Sporobole, c’est une occasion d’investir, par un moyen invisible, le domaine public et son environnement immédiat.

The Sound Window is a permanent system for sound projection on the façade of Sporobole, along the sidewalk on Albert Street. Made up of sixteen loudspeakers, it makes it possible to enter into direct contact with passers-by making their way to the above-ground parking garage next door to Sporoble on city’s main street, Wellington. The linear arrangement of the sixteen speakers and their position at the geometrical interface between Sporobole and the thoroughfare make this new outdoor sound gallery a singular platform for sound spatialisation and the projection of works of sound art. Both fixed and moving sound compositions are possible: on the one hand, the platform provides a proximate listening spot, with passers-by exposed to one or more loudspeakers at a time; and on the other it can provide a more widely-encompassing listening point from the street. For Sporobole, the Sound Window is an opportunity to achieve an invisible presence in the public domain and its surrounding environment.


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