Joel Cahen currently lives and works in London. He is an audio and visual practitioner and curator and organiser of experiential art events.
Since 2002 he has been organising multi-disciplinary art events in London, singular music events and events series such as Evil Art (2002 – 2004), The Wormhole Saloon at the Whitechapel Art Gallery (2005 – 2006), Scrap Club, public Destructivist art activity (2007 – ongoing), Wet Sounds, immersive audio and visual events in swimming pools with music above and below the surface (2008 – ongoing), the sound-based geo-locative app project Interzone Theatre (2012 – 2017) and recently starting developing Audileum, Mixed Reality environments for performance capture and design.
Joel is co-founder and artistic director of the charity Liquid Vibrations set up to provide Musical Hydrotherapy training sessions to staff at special schools.
Joel has collaborated as a sound designer, musician and video artist on stage, film and installations as well as independent artists works since 2003. He also has been leading workshops on sound post production and location sound recording in universities in London and Doha.
He works on sound installations and performances in public spaces such as libraries, swimming pools and galleries. His work was exhibited/performed across Europe, Australia and North America at Red Bull Music Academy, ISEA, AV Festival, All Tomorrows Parties, The Whitechapel Art Gallery, Tate Modern, Ultima Festival, Adelaide Fringe, Macau Arts Festival, Helsinki Festival, Elektroni(k) and many more.
I am interested in using the portal that art work offers for the liberation and activation of the participant’s imagination by encouraging interactivity with the environment and objects within it and by stimulating the audience’s resources of curiousity and intelligence. I am particularly interested in the contextualising powers of sound on the attribution of meaning to an experience. This touches on psychogeography and dramaturgy as these are studies of what influences people’s experience of public space or an art production.
I am also interested in abstract mash ups and cacophonies, which access the listeners’ cultural references, associations and memory and through breaking these forms, elevate their sound perception beyond the linearity of sonic progression to a holistic daydream state that envelopes the multitude of juxtaposed information.