Since 2005, the Louvre has been co-sponsoring the publication of a series of graphic novels set within the Louvre’s environs. Written and illustrated by multiple authors, these comics are self-contained rather than serialized stories, placing casts of characters inside the Louvre that act out stories asking fundamental questions about art, collection, audience, and museums (there’s a wonderful in-depth overview of the first four volumes in the series over at Comixology written by Columbia University’s Karen Green). Unsurprisingly, the novel that’s impressed me most in this series so far is Eric Liberge’s On The Odd Hours, a fantastical tale involving the power of sound to keep the Louvre’s objects “appeased.” It’s a thought-provoking take on the sonic experience of museums that has, pun intended, continued to resonate with me long after reading it. Continue reading
This essay was commissioned by Meri Kytö and originally published in the World Forum for Acoustic Ecology News Quarterly’s Research and Projects column (v.11 n.1, Jan-Mar 2014).
Museums, although thought of as silent spaces, can be surprisingly noisy when listened to attentively. A large portion of my practice as an artist involves listening to museums, where the sonic collisions between present and past create what I have previously referred to as the active sounds of history (Kannenberg 2012, 8). While I am not suggesting we can listen to the past directly by looking at objects, I believe that contemporary sounds in museum spaces are experientially charged and transformed by their physical contact with the tangible cultural heritage of the past. This transformation is in part reliant upon the accepted authenticity of museum objects: Continue reading