Audioclopedia / Afef Omri

Audioclopedia is a participatory and evolving artistic project that explores sound as a tool for sensitive,political, and collective representations of lived space. Both an online platform and an in situ creativedevice, Audioclopedia invites residents to record, share, and geolocate sounds, narratives, and 3 soundscapes connected to their everyday environments.

The project is based on an existing digital platform (www.audioclopedia.org), conceived as an open and contributive archive. Building on this foundation, Audioclopedia unfolds in public space through multiple formats: guided listening walks, collective recording sessions, participatory workshops, and in situ or mobile listening installations and devices. These formats temporarily transform urban or peri-urban sites into spaces of listening, encounter, and collective storytelling.

The artistic aim of the project is to shift dominant perspectives on the city and on territories by privileging a sonic, immersive, and situated approach. Sound becomes a medium through which invisibilized narratives, local memories, informal practices, and social tensions embedded in space are revealed.

Audioclopedia does not merely document sounds; it activates processes of co-creation in which participants become authors and mediators of their own spaces.

Within the framework of IN SITU, Audioclopedia proposes to experiment with artistic forms in close connection with local communities.

The first cycle I propose to develop with IN SITU focuses on the Chott el Jerid region in southern Tunisia—a symbolic territory, both real and imaginary, shaped by histories,

migrations, and voices. The project seeks to make audible the human and sensitive landscapes of this ecologically vulnerable region, whose urban fabric is undergoing accelerated transformation, through thecollection, spatialization, and shared dissemination of popular songs, narratives, and sound atmospheres.

Audioclopedia stands at the crossroads of sound art, artistic research, sensitive cartography, and cultural mediation. The project advocates for a practice of public space as a common space, traversed by multiple voices, where listening becomes an artistic, social, and political act.

Tracked/ Unplaced / Ahmed Ben Abid

Tracked / Unplaced is a video installation conceived specifically for public space. It is a fragment extracted from my ongoing research project Unknown Sea, and it investigates migration, surveillance, and the condition of being visible without belonging.

The project is built around a low-tech, mobile system: a Python-based face-tracking algorithm installed on a Raspberry Pi. Developed through DIY experimentation and workshops in Tunis, the system detects faces in real time and generates unstable visual and textual outputs displayed on screens installed in public space. Faces are fragmented, delayed, duplicated, or partially erased. The images never stabilize, resisting identification and permanence.

Rather than producing recognition, the technology reveals the tension between visibility, control, and displacement.

This process reflects a dominant narrative in Tunisia known as “escaping the hole”, the belief that departure is the only possible future. Since the 2011 revolution, political instability and economic precarity have intensified this logic, leading many young people toward migration or psychological withdrawal. Tracked / Unplaced focuses on suspension rather than movement: the experience of being present in a place while remaining socially, politically, or symbolically unplaced.

The installation operates autonomously, without performers. Passersby become part of the work simply by circulating through the space. Their presence activates the system, producing images that echo the mechanisms of surveillance already embedded in everyday urban life. Sound and text outputs are generated from the system’s behavior and from material developed during earlier workshops, creating a constantly shifting audiovisual environment.

Public space is not a neutral backdrop but an essential component of the work. Streets, squares, or transit areas become sites where migration, control, and visibility are made tangible. Grounded in decolonial perspectives, Tracked / Unplaced avoids illustrative or folkloric representations of migration. Instead, it proposes a situated experience that invites reflection on who is seen, who is tracked, and who remains unplaced in contemporary public space.

ى (Echo) / Asma Mokni - Khaled Marwani - Yakin Guedri

ى (Echo) is a participatory performance exploring how individual memory sustains and regenerates collective dance heritage.

The work begins with an intimate moment: a participant enters a small, dark space and is asked to perform a traditional movement any fragment they remember. When they exit to the public space, they discover a group of dancers and spectators reproducing their gesture, expanding and transforming it. Each participant unknowingly seeds the next layer of movement, until a communal choreography emerges from many personal memories.

The work highlights how cultural heritage is not a fixed archive, but a living organism that depends on the people who remember it. The performance creates a cycle of transmission, where the private becomes public, and an individual gesture becomes collective vocabulary. Every participant shapes the outcome, leaving a trace that merges with others like memory itself.

The piece is designed for open spaces, streets, courtyards or transitional zones, where passers-by can witness and organically join the movement-ritual. In the final stage, the dancers assemble the accumulated gestures into a full choreography, which the public is invited to learn and perform together transforming individual heritage into shared embodiment.

ى (Echo) is not a reenactment of tradition, but a re-activation a moment where cultural memory isrebuilt through body, vulnerability, and transmission. It asks: How long does heritage survive if we stop remembering?

And equally: How powerful does it become when we remember together?