Echoing Cavities

A voice is the result of a complex structure, a vibration that connects various parts of the body and a network of underground caverns. Saliva invades the trachea and overflows. The pineal gland takes on an almost mythical function. For a voice to manifest itself, the body must also move. The voice is what happens when I’m not writing, it is the revolution of the organs expressed in ephemeral matter, vibrations of air that vanish as soon as they are emitted. Its counterpoint is the resonance that endures in the other body receiving the vibration. The voice holds together bodies and languages ​​of more-than-human entities. These resonances are woven together in the testimonies of Snejanka Mihaylova, Elena Aitzkoa, Marc Vives, and Anna Pangelou. In their artistic practices, voice is revealed as interiority projected outward.

Snejanka Mihaylova creates a rhythmic hymn to the subtle intertwining of the act and understanding, the creation and consciousness, that precedes the voice. Through the constant ebb and flow of breathing, a profound reflection on the voice unfolds, not just as an emission of sound but as the formative principle of an invisible pulse that shapes body and world. She invites us to listen beyond the audible, to recognize that understanding arises from the encounter with a collective and cosmic resonance. True attention is an ancient prayer woven in the time of vowels.

Elena Aitzkoa’s text is a lyrical meditation on the voice as an intimate geography, a river that traverses body and time. From the throat that swallows landscapes to the feet that give warmth to the center of the earth, we are led through a territory where the voice is an emotional ecosystem. The voice is animal, it is water, it is a song that cleanses, restoring what is wild within us. It is a text that, being sea, immerses us in the vastness of the submerged, where speaking and hearing are the same resonant act.

Marc Vives outlines a vision of artistic practice as porosity, in which body and voice do not impose themselves but instead allow themselves to be traversed. Facing the rigidity of discourse or authorship, he proposes a creation in flux, sensitive to the environment and uncertainty, a responsive practice. Radical listening is a political gesture, an attention that decenters the self and opens up space for the unspoken to exist. In this unstable landscape, practice does not emerge from interpretation or authorship but from a medium, a channel in which intensities, memories, and emotions circulate. The voice is freed from logos and becomes an embodied vibration.

Water appears in multiple forms and sounds, from the faucet to the sea, always in movement and transformation. Anna Pangelou creates liquid scores that float between words, colors, and memories, creating a seamless flow between the audible and visible aspects of water. Her voice mingles with tides and droplets, shedding language to inhabit the sensorial and profound. Each immersion is an encounter with nature in which the visual and the auditory merge. In spaces like the Greek Pavilion, water takes on a physical and sonic presence, challenging our perception. Water and voice intertwine in a ceaseless flow of creation and listening.

In this fabric of voices and bodies, the word dissolves and is reborn in vibrations that transcend rationality. The voice emerges as a bridge between body, environment, and the invisible, summoning a listening that opens up new horizons of perception. These texts reveal a poetics of the voice where presence unfolds in its deepest and most expansive dimension. The voice becomes a shared space, a vital flow that connects with the essential and mutating nature of existence.