They have traced lines and lived inside them
Challenging preconceptions about sound as a disembodied phenomenon and architecture as a solely material manifestation, They have traced lines and lived inside them explores the liminal spaces between sound and architecture. The curators invited artist Sophie Mallett and architect Emma Letizia Jones to work together on this new project, fostering a collaboration in which the relationship between art and architecture would develop simultaneously. The result of this exchange is Liminal States, an installation that investigates the aural and spatial politics of border territories.
Liminal States presents new material collected by Mallett and Jones during a recent trip to Melilla, an autonomous enclave on the North African coast, claimed by Spain but considered occupied territory by Morocco. Audio recordings and moving image trace paths in the gallery for listening and viewing. Three radio transmissions are broadcast to delineate different sonic territories, repurposing the technology often used in surveillance as a method of cartography to carve out new landscapes. In between these zones, the white noise picked up by the receivers references the anomalous terrain of Melilla, where the economies of border protection and cross-border commerce collide.
Curated by Federica Buzzi, Gabria Lupone, Louise Potzesny and Jessica Taylor
School of Humanities
MA Curating Contemporary Art, 2016
Jessica's practice is focused on contemporary art that looks at matters of cultural contact and exchange, transnationalism, historical forgetting and issues of migration and movement, particularly related to the Caribbean and its diaspora. She is based in London and works as the Social Media Manager for the International Curators Forum. Prior to moving to London she received a BA in Art History and Philosophy at McGill University and worked at the Barbados Museum conducting research around local collections. Her dissertation for the CCA course was part of an ongoing project that looks at the relevance and tasks of national art institutions in the English-speaking Caribbean and the importance of constantly developing infrastructures to support and complicate local, regional and global narratives around national identity.