Eavesdropping; Crisis

Eavesdropping; Crisis @ Reworks 2011



verb ( -dropped , -dropping ) [ intrans. ]

secretly listen to a conversation : she opened the window just enough to eavesdrop on the conversation outside.


eavesdropper noun

ORIGIN early 17th cent.: back-formation from eavesdropper ( late Middle English ) [a person who listens from under the eaves,] from the obsolete noun eavesdrop [the ground on to which water drips from the eaves,] probably from Old Norse upsardropi, from ups ‘eaves’ + dropi ‘a drop.’


Eavesdropping is unethical, improper; considered gossip and taboo. Eavesdropping though allows me to understand the events for what they are and not for what they were supposed to be. Since these audible details of every day life were supposed to stay behind closed doors, I break the rules, I bypass ethics and bring my ear close to the wall, listen and so the walls grow ears.

I hear tension, I hear fights, conversations, love making, joy, despair and frustration. Through eavesdropping I understand this country and the people who inhabit it. My ear in the shape of a microphone discovers the secret life of a society struggling to conceal its own reality and now I bring it to you. Place your ear upon the glass, then the glass on the wall and listen to what life really sounds like.

The installation Eavesdropping; Crisis by Luc Messinezis was presented at Pyrgos Cultural Centre (Tinos Island, Greece), Reworks 2011 festival (Thessaloniki, Greece) and Ethnographic Terminalia 2011 (Montreal, Canada)

Eavesdropping; Crisis – Part 1


Forest in a Forest

Forest in a Forest

“He heweth him down cedars, and taketh the cypress and the oak, which he strengtheneth for himself among the trees of the forest: he planteth an ash, and the rain doth nourish it” – Isaiah 44:14

The audio-visual presentation Forest in a Forest by photographer Naama Kostiner and sound artist Luc Messinezis is an effort to outline the importance of the forest in our lives. Naama with the lens as an extension of her being, captures images, moments, stills which transform into memories of a place that is so far yet so close to us. In a similar way, the aural presentation and phonographic work of Messinezis attempts to capture time and space and relocate it within the context of a gallery in the village of Ein Hod, which is itself surrounded by the forest of the ancient Carmel Mountains.

Visual and aural elements co-exist in the space of the gallery. The frame which is timeless and still, transfers the notion of the object; while the waveform, dependent on time, carries the notion of event. Sound and Vision became the two bodies of a counterpoint composition where as independent voices they meet and create space within space in harmony.


Forest in a Forest was presented from the 17th of April until the 8th of May 2010 at Levendel – Bloch Gallery in Ein Hod artist’s Village, Israel. For more information you may click here


Wunderkammer; The Sound Cabinet of Curiosities

Wunderkammer @ IMT Gallery

A sound art installation aiming to stimulate the imagination and challenge the perception of the individual experiencing it. Wunderkammer; The Sound Cabinet of Curiosities draws inspiration from the historical cabinets of curiosities that first appeared during the 14th Century around Europe and are considered to have been the first form of the modern museum.

The installation is an actual collection of strange, unearthly, wondrous and fascinating sonorous objects. The artist adopts the the role of a curator who stumbles across numerous objects, gathers them and places them on “display” in order to share his findings with the audience. The objects are arranged within space with each one “standing” at a specific place inside a case [loudspeaker].

The concept is realised using the Choroechoic composition strategy. This form of composition – introduced for the first time by the artist – uses as starting materials concrete sound objects which acquire the attributes of physical ones. After having their temporal characteristics eliminated, these sonorous objects are transformed into Choroechons; Sound objects that may be treated in the same manner a visual artist treats physical objects. The Sound Cabinet of Curiosities is the first Choroechoic piece; a composition through which the terms ‘Structuring materials’ reclaims its literal meaning.

Stereo Example

Wunderkammer: the Sound Cabinet of Curiosities was exhibited  the 27th of November 2008 the IMT Gallery, London as part of the Sound Art exhibition and symposium Audio Forensics.

For more information of the symposium click here