In HERENESS, the first-floor gallery becomes a listening space. Working from the control room, Tamar Perry uses voice and violin to listen to the archive through sound.

A microphone installed in the gallery transmits the sounds of the space to the control room. At the same time, Perry’s voice and violin are played back into the gallery. A feedback loop develops between the two spaces: the sounds in the gallery affect the performance, which in turn changes what is heard there.

Voice, violin, archival material and the gallery come together in a live, unpredictable composition. The archive and the space become a single acoustic body, with no one fixed source of sound and no complete control over the result.

Duration: 40 minutes