🎶 Sound, Sculpture, and the Art of the Present Moment: An Interview with Tarek Atoui

18.12.2025 1 Like 0 kommenttia

Internationally acclaimed artist Tarek Atoui shares his profound philosophy on sound and details his practice of inventing sculptural instruments.

We recently had the privilege of sitting down with Tarek Atoui, a highly celebrated musician and artist originally from Lebanon, currently based in Paris. Click here for the brilliant podcast episode. Atoui’s work exists in a unique and fascinating space where contemporary music, sound art, and visual arts intersect, often taking the form of inventive sculptural instruments and installations. His practice is driven by a deep commitment to improvisation, sonic vibration, and the physical encounter with art.

Key Insights from the Conversation

The Auditory World of Materials

Atoui does not believe in a hierarchy of sound or material. He emphasizes that because sound is vibration, all materials possess a sonic quality—there is “no dead material.” This belief informs his inventive approach, where common objects, whether a kitchen spoon or a basket, can become a musical instrument, and architectural spaces can be conceptualized as “sounding bodies.”

Interestingly, Tarek’s journey into instrument making was “backwards.” He started his sound exploration late, first learning computer music and digital programming before moving backward to master analog techniques, electronics, and finally, sculptural creation.

Instructions for Instrument Making: Embracing Failure

When asked to give instructions on how to make instruments, Atoui’s answer applied equally well to any creative or life project: patience, persistence, and the acceptance of failure.

He explained that creating an instrument is inherently frustrating due to the resistance of materials and techniques. The creator is constantly negotiating between their will (the desired sound) and the material’s intention (what it naturally gives). The key is cultivating the love of experimentation and acknowledging fragility.

“Accepting failure and starting all over again is something that is crucial for this… It is for me the acceptance of failure and acknowledging the fragility, our fragility and the fragility of the material and the world.”

He cautioned against seeking the immediate results and quick fame that contemporary culture pushes, advocating instead for the decades-long commitment required to build a masterful body of work.

Playfulness is Creative Necessity

Atoui revealed that his studio process revolves around the fundamental notion of playfulness. He compared his workspace to a collection of objects and toys, where the creative team constantly evolves concepts by “playing like kids.” He embraces moments when experiments result in “disastrous results where things blow or collapse,” finding joy and valuable lessons in those accidents.

Sound: More Than Just Listening

For Tarek, sound is more than an audible phenomenon; it is energy, vibration, and the vector through which he navigates life. Crucially, he notes that sound is unlike an image:

“Sound dies when it reaches you.”

It is absorbed as a phenomenon and transforms instantly into feelings and emotions, making it profoundly personal and ephemeral.

Experience Over Mediation

Perhaps the most powerful takeaway is Atoui’s strong stance against the digital consumption of art. He revealed that he has no social media presence and rarely records albums. He believes that to truly experience his work, one must be in the present moment at a live situation, an exhibition, or a performance.

He advocates for the human encounter and togetherness achieved through sharing space, rejecting the modern tendency to consume everything through a screen. He encourages the audience to take a journey—like curators in old times who traveled by boat to meet an artist—to truly seek and value the art they wish to experience.