I & R16 Myths & Facts13 Fayen d'Evie12 Video10 Crisis10 Text10 Reproductions9 Improvements8 Sound8 Listening7 Memory7 Performing the Archive6 Photography6 Sculpture6 Points of Connection6 Environment6 Painting5 Installation5 Language4 Poetry4 Archives4 Labour3 Record3 Artist Walks3 Pandemic3 Precarity2 Textile2 (story) Loading...2 music2 Performance2 Community2 Gentrification2 WS × Social Studio2 Politics1 interview1 Productivity1 interpretation1 Improvisation1 scores1 movement1 Sex1 dust1 spoken word1 Description1 listen1 Translation1 choreography1
Tamsen Hopkinson

“The Archive is a tapu space. The recordings are tapu. They’re alive. They are embedded with knowledge of self, voiced by our ancestors themselves. But they need people to activate them and the knowledge they hold. Without people they remain cryogenically frozen in time. We can keep our ancestors warm by bringing them out from the vaults and into the present.”

Excerpt from Huni Mancini’s We Carry Their Voices, 2020

What does it mean to listen? How do we critically engage with the extensive archive of information available to us? In a world of oversaturation, how might we learn from the past in order to position ourselves in the present? For Māori the past, present and future are intertwined. Time is continuous – there are no restrictions. It is both the past and the present. The strength and knowledge of the past shapes the present, and provides a blueprint into the future.

Offsite Issue 4: ‘An act of listening’ considers the role of memory, time, cultural responsibility and collective care in the creation and maintenance of sonic archives and the recording of sound. It examines our shared oral histories and questions the protocol or kaupapa around activating archival sound. Through acts of listening we can link past archives to current conversations and create new ways of engaging with our histories and each other. 


Phil Dadson’s work for this edition is in two parts; Between Worlds, a video work made in 2011, and a selection of 10 Sound Stories from a series dating from the mid 1970s to the present.

Dadson fuses the temporal elements of sound and image in Between Worlds to create a specific physicality and pulse unique to his prolific video practice. The triadic (canoe-prow) reference implicit to many of his works inverses the image and creates a 360 dimension, inviting the viewer into an alternate world to experience the rhythm of the work. Between Worlds suggests we are conduits for a world of sounds and images at once real and illusory, and that instead of taking a breath ourselves, we are breathed by nature.

The archive of 10 Sound Stories are personal insights into Dadson’s sonic experience that speak to a wider experience of sound and place. For Dadson, Sound Stories are the “experience of sound over and above any other experience. This focus on sound may occur in terms of either natural or magical occurrences ranging from the breath or voice of the unseen, to awesome sounds experienced in life; or, as stories that feature sound in relation to people, animals or objects endowed with supernatural or seductive powers or simply stories that obtain significance from the world of sound.”

These stories are activated once again by the act of re-telling, acting like an echo that creates and draws from a collective universal experience of sound, highlighting the significance listening has on our lives.



Huni Mancini’s video We Carry Their Voices documents the Archive of Māori and Pacific Sound where she currently works in Aotearoa. The AMPS archive is celebrating its 50th anniversary this year but celebrations were postponed due to COVID-19. Filmed on an iPhone Mancini documents the final days of working with the archive before it moves, speaking to her experience of transcribing the Tongan Collection alongside her mother and layers music from the archive to express the multiplicity of voices held in the archive. Her work considers how we access and activate knowledge voiced by our ancestors and the importance of respecting the archive as a tapu (sacred) space.



Lucreccia Quintanilla’s sound work Call combines various recordings of bird noises from segments in house music, dancehall, ocarinas, flutes in jazz and her own field recordings. She considers how flutes in the mesoamerica were often made and tuned to sound like birds and uses this sound collage to think through our position and responsibility to the land. Quintanilla refers to the act of careful listening and uses sound to question our relationship to place. 



David Chesworth’s Indexing the Cylinder recounts his experience of viewing and listening to a one hundred year old wax cylinder recording of an Indigenous elder while visiting the storeroom at Melbourne Museum twenty years ago. As Chesworth contemplates relocating the cylinder, his halting recollections explore memory, the recording’s cultural status and its agency as an archive.

The artwork itself becomes a document that archives dubious certainties of human memory and questions our ability to categorically define and locate experience. 

Tamsen Hopkinson, Ngāti Kahungunu ki Wairoa, Ngāti Pahauwera is a Māori artist and curator from Aotearoa, based on Wurundjeri country. Her practice is an expression of mana wahine which is also informed by her Irish Pākehā ancestry. Tino Rangatiratanga underpins and grounds her curatorial and artistic practice.

Tamsen has worked across multiple artist-run spaces for the last 8 years including TCB Art Inc., UN Magazine and West Space and has collaborated across various music projects including Blank Statements and JMRG. She currently works at West Space as the Curatorial Liaison and as a Teaching Associate at Monash University of Art Design and Architecture (MADA)