Unconscious Archives is an ongoing sound art and audiovisual event series curated by Sally Golding. In partnership with the South London Gallery for this special event, presenting physical and sensorial sound and vision from French-Canadian electroacoustic experimenter Jean-François Laporte, Viennese synaesthetic artist Billy Roisz, and the noise instrument performance of Louise Magnusson from Sweden.

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Biographies
Jean-François Laporte is a composer, sound artist and instrument builder from Quebec, Canada, who creates thunderous corporeal sound performances, deep listening experiences and performative actions, enveloping the audience in moments of sonic ecstatic. Pursuing a hybrid approach integrating visual arts and sound exploration, Laporte creates instruments which are activated and controlled by computer and robotised means, but which ultimately meet acoustic ends, and which often conjure the forces of nature as influence. With an intuitive approach to creating music, Laporte learns art through concrete experimentation on matter, his unique artistic vision relying on the active listening of each sound / object / material.

Billy Roisz is one of the best known figures on the Austrian experimental scene, combining her favoured technologies with an intuitive approach to the mind’s internal perception of sensory data input. Her interest in translating experimental music into ‘visual memory images’ is both informed by and extends upon minimal and conceptual art. She specialises in feedback video and video/sound interaction by using monitors, cameras, video mixing desks, a self-built video synth, computers, bass guitar and turntables. Focusing on the links and gaps between visual and auditive perception, Roisz seeks to reimagine the interchangeability or unity of the electromagnetic signal in her audiovisual generating machines.  

Louise Magnusson is a sound artist and composer originally from the north of Sweden, and an active member of the Gothenburg sound art scene. Magnusson works with the idea of ’tactile’ and ‘subjective signaling systems’ as her main philosophy which influences her range of built instruments and performances which touch on elements of drone, folk and electroacoustic sound art. Exploring what sound, thought and touch have in common and their relationship to the experience of the world is what drives her work.