Gail Priest


Gail Priest (AU)
Gail Priest is a Sydney-based artist with a multi-faceted practice in which sound is the key material of communication and investigation. Exploring the mediated voice, the tensions of text and sensorial immersion, her work attempts to dwell in a space between figuration and abstraction. Originally trained in performance, a large part of her practice has involved creating soundtracks for theatre, dance and video. She began making and performing experimental electronica and electroacoustic music in 2003 and has since played festivals and events in Australia and Europe. Currently she is concentrating on developing gallery-based concepts. She has contributed sound designs to installation works by Australian artists that have been exhibited nationally and internationally including Ars Electronica, Linz. Exhibitions of her own installations have been shown at Artspace, Sydney and Tokyo Wonder Site, Japan. Her recorded output has featured on international compilations and she has five solo recordings released through Endgame Records, Flaming Pines and her own Metal Bitch Recordings. She also writes about sound and media art and edited the book Experimental Music: audio explorations in Australia (UNSW Press, 2009). As a curator she has produced festivals, concerts, exhibitions and screening programs for Performance Space, Artspace, Museum of Contemporary Art and Transmediale.
Sounding the Future
  • © Gail Priest

We always speak of “visions of the future”, but what if we were to let the auditory realm lead our imaginings? An immersive, audio-driven hypertext, Sounding the Future uses speculative narratives to consider what the future might sound like and how this may manifest as art. These possible futures are viewed through two filters: the integration of technology and biology resulting in trans- and posthuman conditions; and the exploitation of the sonic potentials of the new cities we imagine. Unavoidably, these futures are informed by the ways in which we listen now, so a third strand comprising theoretical and documentary material weaves present practice into future thinking.

Essentially, all future speculation is concerned with the social, the political, and the spiritual. Among the fictions imagined here, there is an attempt to seek strategies for survival and improvement that might be implemented today—because while the future doesn’t happen to us, our current actions make the future happen.

Concept, text, sound, video: Gail Priest
Interactive programming: Julien Pauthier
Furniture design and fabrication: Thomas Burless/tomikeh

Sounding the Future was realised at Bandits-Mages in association with La Box, L’École nationale supérieure d’art de Bourges (ENSA), with support of the Culture 2013 Programme of the European Commission and the Goethe-Institut. This project has also been assisted by the Australia Council for the Arts and is supported by Arts NSW.

sound installation

Grant: October–December 2014, Bandits-Mages (FR) 

EMAP/EMARE grants of Gail Priest