Anne Le Troter

‘Lauren: Anne Le Troter, you are a sound artist, a visual artist. An artist who plays precisely with the plasticity and malleability of language, and of speech in particular. Your working tools are the microphone and the recorder. For over ten years, you've been recording words: your own and those of others. Through audio editing, you manipulate, disarticulate and recompose them, giving them to us to hear in exhibition spaces.'¹   

Anne Le Troter has worked with telephone interviewers, ASMR artists, sperm bank employees, dental technicians and artists who have been involved in major medical advances, such as Louise Hervieu, who created the health record. She has exhibited at the Palais de Tokyo, the Nasher Sculpture Center, the Centre Pompidou, Bétonsalon - an art and research centre, La Pop - an artistic and civic incubator, the Le Grand Café contemporary art centre in Saint Nazaire, and the Pernod Ricard Foundation.

Alongside her sound exhibitions, which use our voices as a working force, Anne Le Troter also seeks to shelter words by housing them in her clothes using small speakers. The artist seeks to feel the words of others; she dresses, adorns and arms herself with them. These sound garments are exhibition formats. It also means blending into the group of speakers, serving as a structure, a foundation, a footing. It also means considering that we have several mouths. It's about wanting community.

Lastly, Anne Le Troter is developing what she calls morsures sonores, sculptures to be bitten in order to hear, offering spectators a consensual listening experience. It's a question of sound poison and antidote via the figure of William Brockedon, artist and inventor of the tablet.

1. extract from [wo:ks] by Lauren Tortil: a series of encounters between two artists - Lauren Tortil and a guest of her choice - on the subject of sound art, taking the form of an interview and a collaborative sound piece. http://www.wo-ks.com/