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Sound sculpture, participatory monument

Materials: concrete, speakers

This work may be a reaction on my in-depth investigation into representation and memorialisation in public space. The need of a continuous revision of the official version of history. Chamber brings out the hidden stories of the voices that are never remembered in the public space.  The making of Chamber started with these questions: What materialises when personal and collective memory collides? Who are the guardians of the city as an archive? How do our personal and collective memories evolve? Why does memory and memorialising matter? Which of our memories are the important ones to keep? If we could erase the most painful ones, should we? Is there ever a right way to remember? Memory is difficult work, and it is hard. In our own lives, we see monuments, keepsakes, and temporary memorials — all labours of memory. The way we remember should be a shared responsibility. It is crucial that we continue to explore new ways to memorialisation. It will give us tools to respond to the injustice that takes place in our present. The ethics of remembrance reflects on our empathy and moral compass and should not become a weapon for control of public space. Remembering loss is a human emotion we should understand better, I wonder if it’s time to stop categorising it based on gender, race, and religion. Through the making of Chamber, I took on these questions. I find it important to form a work that could represent private histories that are hidden, an intimate story in public with dignity. The gesture would create an imaginary room where the public, through listening, would form a bond. Many of my meetings throughout the collection of material for Chamber pointed out listening as a lost art. As the work developed, I became fascinated with the listener, the position, and how it reveals a part of us. Have you ever observed people who get told a personal story? Their faces transform; it’s like their masks to the world slide off. 

The work was commissioned by curator Tominga Hope O'Donnell for Munch on The Move, Munch Museum 


participatory monument, social sculpture, sound art, representation, memory site