ºÚÁϲ»´òìÈ

For his first solo exhibition at a Belgian museum, electro-acoustic composer and artist Tarek Atoui brings together existing works and new productions.

Sound lies at the heart of the artistic practice of Tarek Atoui (b. 1980, Beirut, Lebanon). As an electro-acoustic composer and artist, Atoui is known for creating sonic-sculptural landscapes inspired by sound as well as images, matter, space, time, human actions and organic processes. Within these inventive listening environments, which appeal to more than just the ear, he creates rich experiences and interactions that carry sensory as well as socio-political meanings.

The meticulously designed musical instruments, listening devices, sculptures and objects in Tarek Atoui’s works are the result of detailed conceptual and technical processes. Drawing on deep research and experimentation, they bear the stamp of his collaborations with experts, craftsmen and other interested parties. Composed into fascinating, agile installations that interact with the context in which they are exhibited, they encourage activity in a myriad ways. Different things can happen in these non-hierarchical learning environments: a stand-alone musical composition might run or the instruments can be activated, either by professional musicians or during a guided visit. The installations might be the object of a participatory workshop. Visitors to the exhibition are gently prompted to listen to the space, to each other and to themselves.

For his first solo exhibition at a Belgian museum, Tarek Atoui brings together existing works and new productions in a detailed, associative ensemble. He draws on projects such as WITHIN (2013- on-going), which considers alternative ways of generating music, and The Whisperers, an exploration of how existing sounds change in relation to an array of materials, such as marble, glass, metal and water. Two new works, 66 Soft Cells and Windhouse #1 further expand the experiential and perceptual richness of the overall landscape.