That music which I can’t be the only one to hear is a polyphonic cut-up song.

Silently released, the words, verses, breaths and rhymes make their own connections onto paper and into the space inside which they echo. The project calls up paper and words as active mouth and voices—letting the cut-up song recite the overall research which it is sampled from. That research looks into text as being its own subject; and wanders around the qualities of that of a voice printing itself:

—Is it to be read, or listened to, or can we do both at the same time?
—Is paper the mouth or an ear?

Undulating around, the cut-up song (and its in-scripted logics) amplifies, echoes, loops, —deploys itself as you read and listen.

" Through the installation That music which I can’t be the only one to hear, Manon Bachelier explores the vitality of the voice once it gets translated into text and letters. For Bachelier, as soon as words, verses, breaths and rhymes are uttered and subsequently captured onto a material surface such as paper, they lose none of their liveliness but rather become ‘active mouths and voices’. Hanging off various parts of the walls and the ceiling, connected by threads of silver wire, Bachelier’s printed surfaces look like they are a live species busy pursuing an independent existence and finding ways to inhabit the exhibition space alongside their human counterparts. "
Review by Manuela Zammit

That music which I can’t be the only one to hear is a polyphonic cut-up song.

This reader wanders around the qualities of that of a voice printing itself:
—Is it to be read, or listened to, or can we do both at the same time?
—Is paper the mouth or an ear?

This reader cracks open the verses of the song to unfolds their sources, with texts by (in order of appearance):

Considering the materiality and malleability of text, this series of subjective definitions aims to think through how text enables us to address.

Inspired by Jacques Derrida’s conceptions of language, speech, and writing; as well as by various writers and visual artists, a body of words weaves its way through the following pages. They become landmarks and traces of a message being written; a message taking form, being questioned, eventually delivered.

Extracts from films, visual artworks, and poems surround these definitions as reactions and investigations in/to the transformative potential of messages
—from their formulation to their shaping, and their expected dissemination;
—from the inside to the outside, and to U.

On drifting is a participatory lexicon imagined and produced by the collective Calypso36*21 from 2018 to 2021, as part of our curatorial research programme Out.of.the.blue.map. This book gathers contributions proposed by a multitude of humans whose work summons, explores and questions the liminal dimension of Mediterranean borderscapes.
Poets, lawyers, navigators, activists, artists, architects, researchers, writers, philosophers and political scientists have been collaborating with Calypso36*21 since 2018 to create this final edition.

Conceived as an alternative cartography of the [fluid+solid] border landscapes of the Mediterranean, On drifting aims to disrupt the spatial regimes, often derived from (post)colonial narratives, that now freeze the understanding of this territory.

Unsettling Rietveld Sandberg is an intra-curricular program that acts within the Gerrit Rietveld Academie and Sandberg Instituut and aims to make the context of the academy more inclusive to other voices, minds and bodies – those who are here and those who are not, yet.