BLOODSOUND

BLOODSOUND confronts the rupture, the glitch and the disturbances which seek to obfuscate truth; foregrounds the struggle from which sound came, and honours the hands that produced it; is an homage, a protest, a feeling and a bleeding. An attendance to the enslaved [now ancestral] bodies, descendant bodies and sonic bodies that our collective survivals and resistances rest upon.

Through positioning the memory and technology of the Soundsystem within a gallery context, Minott questions the systemic frameworks which culturally flatten Black sonic technologies, valued only for its fidelity to sound and passage to pleasure, yet removing the people, history and contexts from which it came.

Minott presents the Soundsystem as a fugitive entity; a living and active agent grounded in its complex history of insurgent and resistant sonic dance practises. Forged by communal perseverance, economic endurance and the advanced phonographic technologies of Jamaica, Minott reflects on the underground movements of Caribbean sound cultures. Presenting possibility through the encounter of the vibration, she seeks to refuse the dissonances which separate the sonic from liberatory and reparative motions. Such multiplicities are encapsulated through the loud, haptic, visceral, explosive and auditory phenomena of the Soundsystem.

Minott centres this body of work through a visuality which illuminates the acute and nuanced [corpo]realities of Blackness “as a colour, experience and culture,” entangling the experiences of class, queerness, gender and the contemporary legacies of transatlantic slavery.

Recruiting immersive sound and swathes of Blackness, Minott forms linkages of autobiography and collective histories to irrefutably connect what is seen, felt and then, known.