‘Sound, listening and the queer art of history’

This article explores the role of the museum audioguide as a relational, sensorially driven mode of making and communicating diverse histories. It argues that the artist Benny Nemerofsky Ramsay’s use of voice, storytelling, gesture, movement, and sound helps create conditions for empathic listening, bridging the past and present and widening the spectrum of possibilities for new and diverse knowledge formations. This use of aesthetic and historical registers, the blending of fact with fiction, stresses multivalence and possibility over a singular narrative truth. The act of listening promotes a shared though subjective experience, one that challenges the exclusionary function of traditional museum displays, which turn on objective, documentary claims, while actually reflecting a hegemonic vision of the past. In this way, Nemerofsky offers a queer historical practice for how we might (re)present the diversity of past pasts.本文探讨了博物馆语音导览（museum audioguide）作为一种关系性、感官驱动的创作与传播多元历史的模式所发挥的作用。本文主张，艺术家本尼·内梅罗夫斯基·雷姆赛（Benny Nemerofsky Ramsay）对声音、叙事、手势、肢体动作与音效的运用，有助于营造共情式聆听的氛围，架通过去与现在的桥梁，并为新型多元知识形态的生成拓展了可能性空间。此类对美学与历史语域的运用，以及事实与虚构的融合，更强调意义的多义性与可能性，而非单一的叙事真相。聆听行为催生了一种兼具共享性与主观性的体验，这一体验挑战了传统博物馆展览的排他性功能——传统展览以客观纪实性主张为核心，实则却折射出对过往的霸权式叙事。以此为路径，内梅罗夫斯基为我们如何（重新）呈现过往历史的多样性提供了一种酷儿历史实践范式。