The ecological thought does, indeed, consist in the ramifications of the “truly wonderful fact” of the mesh. All life forms are the mesh, and so are all the dead ones, as are their habitats, which are also made up of living and nonliving beings. We know even more now about how life forms have shaped Earth (think of oil, of oxygen—the first climate change cataclysm). We drive around using crushed dinosaur parts. Iron is mostly a by-product of bacterial metabolism. So is oxygen. Mountains can be made of shells and fossilized bacteria. Death and the mesh go together in another sense, too, because natural selection implies extinction.

Timothy Morton – The Ecological Thought (2012)

The exhibition at FRAMEWERK Gallery consists of a selection of seven headphone pieces from the ongoing series m·e·s·h. Fieldwork and composition by Pablo Sanz, 2011-2015.

Part of the programme of BASS * Belfast Artists’ Sonic Showcase, a month-long exhibition and performance programme at FRAMEWERK Gallery in Belfast.


About: psnz

Pablo Sanz is a Spanish-born artist, composer and field recordist currently based in the UK. He makes site-specific projects, multichannel installations, immersive live performances, headphone pieces and publications. His activities are engaged with the exploration of aesthetic and spatial aspects of sonic perception, working primarily with environmental sound as raw material, extended listening technologies, architectural physical space and spatial audio strategies. Thresholds of perception and the interrelations between hearing, matter, time and space are essential in his creative practice. His work is presented internationally in a variety of contexts and has been awarded in the competition ‘Europe – A Sound Panorama’ (2011, Goethe Institute, Deutschlandradio Kultur, ZKM-Karlsruhe) and the ‘5th On-Air Radiophonic Art Prize’ (2009, Círculo de Bellas Artes, Madrid). He has been artist-in-residency at Inland-Campo Adentro (Catalonia), Matadero (Madrid), Nau Côclea (Girona), FDD (Lisbon), Sonoscopia (Porto), ARE Holland (Enschede), Q-O2 (Brussels) and the UNICAMP´s Laboratory for Sonic Arts and Acoustics (São Paulo). Recent projects include a field recording trip to the Central Amazon region supported by Brazilian and British research organisations, site-specific architectural interventions in The Netherlands and Spain, radio commissions by Radio Reina Sofía Museum in Madrid, FON Air UK, Atelier de Création Sonore Radiophonique in Belgium and online releases on Very Quiet Records (UK) and Sonic Terrain (Colombia) among others. In 2004 he became an active member of the independent online publication, an initiative through which he has contributed to several curatorial projects including commissioned programs for Sónar Festival (Barcelona) and Sensxperiment (Córdoba). In 2007 he relocated to The Netherlands, completing studies at the Institute of Sonology and the ArtScience Interfaculty in the Royal Conservatory and the Royal Academy of Arts of The Hague. Since 2013 he is based at the Sonic Arts Research Centre (SARC) in Belfast, Northern Ireland, UK where he currently teaches and works towards a sonic arts and electroacoustic composition portfolio PhD (Sound~Space~Perception).

Categories: Exhibitions