The Public and the Intimate: Documenting a Curatorial Process #2

Snap Artwork by Sergio Salazar (On Exposing the Curatorial Us)
The Public and the Intimate: Documenting a Curatorial Process #2
The Public and the Intimate: Documenting a Curatorial Process #2

In this photo essay, Monia Acciari visualizes a curatorial process attempting to reconcile intimate and public absences, loss, and creativity.

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The Crime of Listening to What You Want

Snap Artwork by Sergio Salazar (The Crime of Listening to What You Want)
The Crime of Listening to What You Want
The Crime of Listening to What You Want

As a child, our writer made mixtapes out of recorded radio shows. In this personal essay, she explains how she disobeyed the station’s official music curation.

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The Silent Mass I Carry Around

Snap Artwork by Sergio Salazar (The Silent Mass I Carry Around)
The Silent Mass I Carry Around
The Silent Mass I Carry Around

Even at a time of fragmented digital selves, people often align with a single self-description, suppressing their multiplicities. In this essay, our author attempts to re-sample the embattled term (self-)curation, in search of its supposed emancipatory potential.

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Like a Fragrance in a Room

Snap Artwork by Sergio Salazar (Like a Fragrance in the Room)
Like a Fragrance in a Room
Like a Fragrance in a Room

What happens when curation resists any form of guidance? For Rebecca Salvadori, video artist and artistic co-curator of Norient Festival 2022, this led to a silent rush of creativity. A claim for positive disorientation.

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On Exposing the Curatorial «Us»: Curatorial Notes #1

 curatorial_notes_1_acciari_elias-chen.jpg
On Exposing the Curatorial «Us»: Curatorial Notes #1
On Exposing the Curatorial «Us»: Curatorial Notes #1

How can we decentralise the power of curatorial spaces? According to our writer, we need to take into account irrationality as a creative process.

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Design: Elias Chen

Haunted by an Invisible Sound

Snap Artwork by Sulgi Lie (Haunted by an Invisible Sound)
Haunted by an Invisible Sound
Haunted by an Invisible Sound

How does sound shape visual perception in a movie? Watching «Memoria» by Apichatpong Weerasethakul, film scholar Sulgi Lie is shaken by a heavy bass that has no visible source.

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Quote: Sulgi Lie

Montréal, Your Ears Are My Island

 bourdages_your-ears-are-my-island_sejma-fere_hr.jpg
Montréal, Your Ears Are My Island
Montréal, Your Ears Are My Island

A portrait of Montréal’s diverse music scenes, their global connections and historical roots; and an exploration of the effects of gentrification.

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Quote: Kimihiro Yasaka
Design: Šejma Fere
Sound: Joseph Sannicandro

Music as Embodied Practice

Music as Embodied Practice_Radha Mahendru_Elias-Chen
Music as Embodied Practice

How does a body-self express itself in a digital sphere? In her reflection on a 12th century poem and the singing at anti-CAA protests in India, our writer reassesses the body in pandemic times.

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Design: Elias Chen

My Difference Between Watching and Seeing a Film

Snap Artwork by Sergio Salazar (My Difference Between Watching and Seeing a Film)
The Difference Between Watching and Seeing a Film
My Difference Between Watching and Seeing a Film

Selecting a film for a festival requires us to look beyond pure preference. In this essay, Chafic Tabbara, film critic and co-artistic director of Norient Festival 2022, shares his thoughts on curating films for cinema in the age of online streaming.

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Amorphous Arab

shidiac_amorphous-arab_melissa_ghazale.jpg
Amorphous Arab
Amorphous Arab

Can one pursue the past through reimagining the present? Veteran musician Yacoub Abu Ghosh and sound experimentalist Rehab Hazgui talk to Norient about merging tradition with recent techniques at the «Mirath:Music Sound Exhibition», a project by the Goethe-Institut.

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Post-Euphoria – A Moment Frozen in Time: Part 4

 guy-baron_-moment-frozen_ali-sayah.jpg
Post-Euphoria – A Moment Frozen in Time: Part 4
Post-Euphoria – A Moment Frozen in Time: Part 4

In the final part of his Post-Euphoria series, Guy Baron discusses using stripped-down electronic dance music motifs to suggest ambivalent euphoric experiences and capture fleeting moments.

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Design: Ali Sayah
Sound: Guy Baron