Benoit Maubrey’s work with audio art started in Berlin in 1982 with public sound sculptures, and he eventually turned to performative practices with portable audio embedded in clothes and costumes. His artistic practice currently spans site-specific and non-site-specific sound installations, locational and non-locational performances, as well as performed, interactive and non-interactive sound installations, and a comprehensive description of his artistic trajectory is planned for release in 2019: Benoit Maubrey – Sound Sculptures. His most well-known ensemble is The Audio Ballerinas, wearing tutus with a combination of solar cells, light sensors, samplers, radios, amplifiers and loudspeakers. The ensemble has been performing since its debut in Lille in 1990. Maubrey has developed a huge portfolio of audio ensemble performances on several continents, and an interesting thread of autonomy and critical reflection is running through his oeuvre. The costumes and their technical affordances have changed with new technological developments, and in this interview Maubrey explains these developments, and how he has maintained and extended his artistic focus.
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