Sound art is increasingly, in the last few years, the center of the interest of artists, curators and scholars, and it is an innovative field of experimentation, study and research within the territories of contemporary art. It has been recognized as a discipline and a category generated by a series of knowledge models related to the cultural tradition of Western Europe and of the anglosphere. Sound art is today an environment in which emerge a series of practices that insist on ‘other’ geographic, aesthetic and cultural coordinates.
It permits an exit from the intellectual and aesthetic objectivity of modernity through affirming a decolonialised approach to history, memory and its conservation via the displacement of the thought and the places where art takes place.
In this way, sound reveals geographies and spaces which are hidden in the surface of modernistic maps, falling apart the authorised combination of materials, unlocking the soundscape as an archive in which documents, voices, objects and silences are scattered