Aline Veillat, Sada el-Kawn, 2011, installation view at HeK. Photo: Stefan Holenstein

Aline Veillat, Sada El-Kawn

Year: 2011
Type: Mixed Media Installation
Media Format: Software (based on max msp), soundtracks, 5 loudspeakers (5V) with cable, 3 megaphones with cable. Amplifier, computer OS 10.6 to 10.9, audio interface, connecting cable, real Egyptian papyrus plant
Dimension: Variable
Duration:
Edition: 1/3 + 1 AP
Credits:
Acquisition: Acquired with BAK (Bundesamt für Kultur, Bern) funds as part of the research project Digitale Medienkunst am Oberrhein, 2012. On permanent loan from kulturelles.bl. Inv. No. S0010.
Keywords:
Artwork Link:
Artist Website: http://alineveillat.com

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Aline Veillat, Sada el-Kawn, 2011, installation view at HeK. Photo: Stefan Holenstein
Aline Veillat, Sada el-Kawn, 2011, Detail. Photo: Stefan Holenstein
Aline Veillat, Sada el-Kawn, 2011, Detail. Photo: Stefan Holenstein
Aline Veillat, Sada el-Kawn, 2011, installation view. Photo: Stefan Holenstein
Aline Veillat, Sada el-Kawn, 2011, installation view. Photo: Stefan Holenstein
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A ceiling-high papyrus plant is festooned with numerous loudspeakers and megaphones, through which a buzz of Arabic poems, revolutionary songs, muezzin calls to prayer or the twittering of birds can be heard.
In her installation Sada el-Kawn, or Das Murren der Welt (The Murmur of the World), Aline Veillat, whose works are at the interface of science and art, ties together two different starting points: the voices of the Arab Spring of 2011 and a biological hypothesis of Prof. Dr. Edgar Wagner (from Albert Ludwig University, Freiburg im Breisgau). Wagner postulates that plants react via electrical signals to external threats such as parasite infestations and can therefore take counteractive measures to protect themselves. The acoustic fragments reveal grievances and lead to an attempt to redress them. This crossing of an admittedly unproven biological communications strategy and a far-reaching political development that was mainly organized through social networks raises the issue of parallels and mutual impacts between natural and digital processes, whose connection remains unclear.
(Text: Bettina Back)

Artist Bio

Aline Veillat (*1967), Réunion Island, France, lives and works in Basel.

Born on the island of Réunion, artist Aline Veillat grew up in Rabat, Morocco. After studying digital media in Lausanne and aesthetics as well as science and technology in the arts in Paris, she is now working as an independent researcher for the CCC Seminar at the Geneva University of Art and Design (HEAD). Her artistic work is grounded in her interest in our relationship to nature and our perception of space. Hence she invites visitors, for example, to become aware of the contents of our environment and how that influences our perceptions. She is interested in our interactions with today’s world, choosing an anthropological and social approach.