INTERVIEWS + WRITING
Feldenkrais Journal, Issue 29 | Voluntary + Involuntary Movements: Somatic Practice in Contemporary Art, interview with Audra Wolowiec by Helen Miller
Sound American, Issue 13 | How We Listen
Audra Wolowiec is a deconstructive listener. Her experience of the music is concretized through fragments of poetic language that sometimes relate and, at other points, run in parallel lines. A linear narrative or descriptive statement is not the essence of how the deconstructive listener releases a subjective reading of sound. Barthes, linguistics, the sea, breathing meditation, blushing mishearings, and procrastination. Her answers invite time and space to denude their connection to our own histories and connections to the music.
Fell. Magazine | Interview
Instead of trying to fill the gaps, I try to create them, allowing spaces for others to inhabit and emergent connections to form.
College Art Association (CAA) Art Journal Open, Critical Bibliographies: Poetics of Sound and Language by Audra Wolowiec
"Do not destroy the book. Two lives are sheltered there," writes Edmond Jabès in The Book of Questions: Return to the Book. The following list compromises writing, film, and sound from a range of authors, artists and poets for whom the spaces between words, margins, and syllables coalesce to provide locations of communitas. The page becomes a destination, a portal, and a place of encounter.
SELECT FEATURES + PUBLICATIONS
BOMB Magazine, Audra Wolowiec by Emmalea Russo, 2016
...Wolowiec mines language visually and syntactically. The results do not point at the results—they are rich process and rhythm cues, evidence that language is audible even in its silence, and visible in the margin and spaces of its arranging and rearranging. Wolowiec is not presenting conclusions. She is inviting the viewer to investigate the ineffable.
Hyperallergic, What Isn't There: Audra Wolowiec's Sounds, Scents, Erasures, Thomas Micchelli, 2016
Much of Wolowiec’s work is about what isn’t there. Or, more to the point, the elements that are endowed with shape, surface, and weight often function as delivery systems for those that are not, literally or metaphorically. Sound waves, light beams, and elided texts define the core of her practice.
curator of Mumei Journal: Issue FIVE featuring work by Ben Vida, Emmalea Russo, Maria Chavez and Steve Roden.
curator of Sound American: Networks of Listening featuring interviews with Karen Weiser and Sal Randolph.
New York Times, Resonant Structures, 2016
Resonant Structures, Stony Brook University, 2016 (pdf)
Reductive Journal, Issue FOUR, 2015
The Poetry Project, Poems and Texts, 2015
La Vague Journal, Negative Exempla, 2015
Harlequin Creature, Issue 7: Letter to Form, 2015
Modern Painters, 24 Artists to Watch in 2015, 2014
Hyperallergic, Public Art in the Sonic Realm, Charles Eppley, 2014
Time Out NY, Hear that honk? It’s the music of the city, Tolly Wright, 2014
DNA Info, Art Exhibit Asks Passersby to Stop and Hear the Music, Janet Uphadhye, 2014
Colorado Public Radio, Sound & Text at Counterpath, Chloe Veltman, 2014
Westword, Sound System, Bree Davies, 2014
The Artist Catalog, Volume 1: Winter Issue, 2013 (pdf)
Gwarlingo, CONCRETE SOUND, collaboration with Christine Shan Shan Hou, 2013
Urbanite Baltimore, Information Interrupted, Cara Ober, 2013
Word Object, Between Language and Form, 2013
Brooklyn Rail, In the Use of Others for the Change, Thomas Micchelli, 2012
Bushwick Daily, Sound and Space of Audra Wolowiec, Katarina Hybenova, 2012
The People’s Microphony Songbook, by Elana Mann, 2012
Thresholds Magazine, Issue 38: Futures, MIT Department of Architecture, 2011 (pdf)
editions can also be found under GRAVEL PROJECTS, a collaborative system featuring printed matter, editions and publications.
collaboration with Leon Johnson
zine printed on french newsprint and archival paper with inserts
limited edition of 10
A A SA ES
(between the sea and the sea)
based on translations of Andalusian Poems, printed on archival paper with screen print cover
limited edition of 20
collaboration with Christine Shan Shan Hou
paper and vellum with newsprint insert, hand-stamped cover
edition of 100