Curatorial Letter During your waking or sleeping life, bring yourself to attention with the thought “remembering and remembering to remember”. You might find yourself listening backward in time to a sound that you didn’t know that you heard! - Pauline Oliveros, Deep Listening: A Composer’s Sound Practice (2005) Remembering to Remember: Experiments in Sound takes many forms. Exhibition. Performances. Workshops. Residencies. Screenings. Flickers. Silence. Noise. It is the hollow echo of an empty room. The spaciousness of a spare one. The energy after it empties out. It is the airy anticipation and the sticky residue. It is all, and some, and none of these things at once.
Remembering to Remember is a collection and collision of impressions and inquiries. We were curious what would happen if these artists and their work shared spaces–speakers, stages, surfaces; sequenced, adjacent, gathered; alone, together, with others. So we invited them to make new pieces, or revive old ones, or do something different, or do what they do. What emerged is a multifaceted program of 15+ international, national, and local artists spanning six live performances; five newly commissioned multichannel compositions; four film/video works at the intersection of sound and moving image; and one month of community workshops and public engagements. Just as we each experience the same sound subjectively, Remembering to Remember holds infinite possibilities for interpretation. It was an invitation to artists–and now to you–for individual, collective, and deep listening. To feel something. To pay attention. To re-remember. Thank you for being here. Roya Amirsoleymani and Felisha Ledesma Curators, Remembering to Remember: Experiments in Sound