May 20, 2014 - Casino Luxembourg – Forum d’art contemporain - HLYSNAN: The Notion and Politics of Listening
May 20, 2014

HLYSNAN: The Notion and Politics of Listening

Angel Nevarez & Valerie Tevere, What we might have heard in the future, 2010/2014. Radio drama. Installation view at Casino Luxembourg. © photo: Patrick Galbats.

HLYSNAN: The Notion and Politics of Listening
17 May–7 September 2014 

Casino Luxembourg – Forum d’art contemporain 
41, rue Notre Dame 
L – 2240 Luxembourg 

T (+352) 22 50 45   
presse [​at​] casino-luxembourg.lu

www.casino-luxembourg.lu

Exhibition, publication, performances and workshops

Curators: Berit Fischer, Kevin Muhlen 
Artists: Lawrence Abu Hamdan, Angie Atmadjaja, Kader Attia, Nina Beier & Marie Lund, Daniela Brahm & Les Schliesser, Peter Cusack, Clare Gasson, Marco Godinho, Christine Sun Kim, Brandon Labelle, Andra McCartney, John Menick, Angel Nevarez & Valerie Tevere, Udo Noll, Emeka Ogboh, Yoko Ono, Susan Schuppli & Tom Tlalim, Christine Sullivan & Rob Flint, John Wynne

In the Old English word hlysnan, “to listen,” the focus is on the notions of attention and intent. Similarly the emphasis in the project HLYSNAN: The Notion and Politics of Listening lies on the active act not merely of hearing—usually referring to automatic or passive sound perception – but rather specifically on listening; hearing with intent.

Listening requires intensified concentration and attentiveness towards what one is listening to; it is linked to the notion of desire, anticipation and understanding, a striving for a possible meaning. HLYSNAN: The Notion and Politics of Listening understands listening as agency, as gesture, as attitude and as taking a position. The exhibition attempts to reconcile audio practices with contemporary social and political realities and invites the visitor to actively experience, listen and engage with the sense of hearing to the various complex interplays. Part of the investigations is for example the vocal gesture in specific situations like political speeches, legal and juridical contexts, or recording techniques and their impact in regard to documentation, writing and (re)creating history, and in the shaping of our culture and reality. The soundscapes and sonorous textures emanating from specific works presented in the exhibition may provoke immediate physical reactions, whereas other audible stimulus may address and question socio-political issues.

The 21st century, as much as contemporary exhibition making, is undeniably marked as an era of imagery and viewing. Despite many current exhibitions around the subject of sound in which the focus often lies on the visualisation of sound waves or the technicalities and materiality involved around it, HLYSNAN: The Notion and Politics of Listening departs from the representation and visual rendering of acoustic space and submits the auditory perception for consideration. Rather than displaying works destined for the eyes, the emphasis lies on the immaterial, the non-consumerist and the non-spectacle, in order to achieve a heightened concentration on the targeted sense.

Publication
The accompanying HLYSNAN: The Notion and Politics of Listening publication is considered an extending and supplementing format to the exhibition. Not only the concepts materialised in the exhibition are developed and contextualised further, but with complementing contributions by additional artists, the project offers a comprehensive overview on the various questions around the notion and politics of listening.


Programme of performances, workshops and talks: click here 


Exhibition realised with the support of: L’Institut Français du Luxembourg 
The project “October 2013 – obsidian flow” piece retitled February 2014,” 2014 by Clare Gasson has been supported using public funding by Arts Council England and British Council.
Media partner: Odds and Ends by Radio Ara


HLYSNAN: The Notion and Politics of Listening at Casino Luxembourg – Forum d’art contemporain
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