The Geography of Sound exhibition opens March 7, 2026 at the Posner Fine Art Paris. Looks Interesting.

Your cordially invited to the exhibition debut Geography of Sound / Lugar Santuario 15 Beautreillis, 75004 Paris France Saturday, March 7th 6:00 pm. Featuring the work of multidisciplinary artists Daniela Stubbs-Leví and Lucía Hinojosa Gaxiola, and curated by Anna Dusi, Geography of Sound / Lugar Santuario presents an immersive exploration of sound as both landscape and refuge. Through an interdisciplinary practice that weaves together tactics, protocols, poems, and performative exercises, the artists investigate how sound can map memory, presence, and place. The exhibition invites visitors to move through a sensorial environment where listening becomes a form of navigation—transforming the gallery into a site of resonance, reflection, and sanctuary.  We hope you will join us for this special debut and celebration of the artists’ work. 

Geography of Sound / Lugar Santuario spans a series of individual works by the artists including experimental scores, artist books, drawings and objects from past projects, as well as their joint collaboration, Surcomancia. At once an immersive poem and collaborative sound installation, this third iteration of Surcomancia is the centerpiece of the exhibition at 15 Beautreillis. The dialogue between the artists’ work narrates a performative, sonic and poetic methodology rooted in the practice of listening – listening to the deep archives: the spinning earth, a decaying leaf, black holes, a dying star; an insistence that listens to the impossible as a political and poetic intention, animating invisible traces that are then appropriated, interpreted and reconfigured by the artists. Surcomancia – from the arts of bibliomancy and geomancy – is a divinatory practice the artists have been developing since 2023, when the artists traveled to San Andrés Roaguía, a small village in Oaxaca, Mexico, to explore a calcified waterfall filled with geological and cultural traces. In San Andrés Roaguía, the artists were surrounded by multiple kinds of surcos: furrows in the terrain that have been eroded by the passing of time. Through conversations, field recordings, walks, jokes and writing, the artists shared stories about their grandmothers -- an ancestral sorority -- and their guidance, remembering their voices through a shared lack.  In this way, the surco is an absence created by flux: water, air, accumulation, repetition, time, voice. The surco becomes a metaphorical trace of an intervention. The practice consists of listening to the echoes of absence, recombining sonic elements with interior traces and the environment.  From this experience, Surcomancia became a poem and limited edition publication that took shape as a risographed poemario-zine. Its second iteration, Surcomancia Radiofónica, was a long-distance radio performance where the furrows of space and time were explored through radio waves.  For the exhibition at 15 Beautreillis, the artists have created Surcomancia’s third iteration: a new poem and sonic flux mapped by field recordings, sound poetry and conversations during the artists’ encounter in France, adding to this piece the exploration of the furrows of Paris and its environs. This sound installation invites the spectator to find answers in their deep listening to reimagine, recombine and to hear their own flux. 

Lucía Hinojosa Gaxiola (Mexico City, 1987) is a poet, artist and performer working in a variety of mediums. Her sound performances and installations often enact the friction and disintegration of language to amplify deeper layers of communication and reciprocity beyond the human, exploring the transmutation of archives, memory, ritual, and the ecology of sound. Her poetry—many times preconceived through somatic, ephemeral and ecopoetic gestures—is crucial to her research-based multidisciplinary practice. Daniela Stubbs-Leví is a Peruvian artist and poet based in Paris. Her practice creates affective cartographies of absence, mapping the porous thresholds between sound, memory, and place. Her practice treats listening as a transformative technology—one that measures echoes, renders absence palpable, and activates collective imagination.  Working with inaudible frequencies, engraved texts, and astrophysical phenomena, she explores how mourning resonates beyond human scales—in collapsing stars, untranslatable languages, and the vibrations that persist when sources disappear.

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