Magali Babin is an interdisciplinary artist with a practice in sound art. Exploring space as sound material, Babin draws her materials from haptic proximities, acoustic landscapes, and real-life contexts to create environments composed of sequences, textures, and perspectives. Her works explore imperceptible aspects that create alertness and attention through listening. In recent projects, Babin has examined perception and memory by investigating the ways we identify sounds. Babin has performed in international festivals in Canada, USA, and Europe. Her installations have been presented at the MAC as part of the 2011 Quebec Triennial (MTL), at Mois Multi 2012 (QC), and at La Fabrique in 2013 (Nantes, France). Babin has a doctorate in art studies and practice from UQAM and a grant from the Fonds de recherche du Québec – Société et culture (FRQSC).
“In the wake of the concepts of sound landscape and sound impression (Schafer, 1977), I deepen the question of the phenomenology of listening (Barthes, 1977) in relation to the attentional character of the aesthetic experience (Schaeffer, 2015). I specifically question the relationship between sound, memory (personal and collective) and territory. I assume that these relations define the foundations of a sound heritage; The sound landscape contributing to the identification of a place, habits of life and collective memory. How does sound become the relational vector between the individual, the community and the environment? The problem I want to address is about the scope of sound as a constituent element of self-identity, as a psychic and physical imprint. How does the sound landscape contribute to the identification of a place, our habits of life and our collective memory? Would the creation of a sound heritage be a possible and collaborative approach to environmental education and the awareness of sound ecology?”