Disguising the Silence

author Robin Rimbaud
interviewed by Željko Luketić


Interviewed in Rijeka on 22 July 2016


Even in the period before Rijeka was named the European Capital of Culture for the year 2020, a lot of activities had taken place under the motto Port of Diversity. Newly appointed project manager Emina Višnić has stated in one of her latest interviews that she did not want Rijeka 2020 – European Capital of Culture to be a passing and luxurious circus that would pack up their tents and leave at the end of 2020. At least for now it seems that this will not happen since the specific institutional support has already resulted with an artistic act that connects, for this area, still exotic terms of ambience and sound architecture, perception of space and sound and the way they influence the experiential perception of the user.


ORIS — How did you become involved in your last project Water Drops?


Robin Rimbaud — Like in many works that I make, there are so many elements. It is so interesting to try and chase, follow the trajectory of what one has done. There are methods and ways in which people connect to each other. I very rarely ever apply for commissions. Essentially, I have no patience for filling out forms or anything like this. I decided long ago not to spend my life applying for funding and grants, typing for hours. But last year I got this call, and I thought, the idea of making sound for a space where certainly no one has come for the sound is undoubtedly intriguing. As always, I had no idea how to begin. I was working with a theatre company in Parma in Italy and one afternoon I thought, perhaps now I have a chance to do this. I literally had 2 hours to conjure up an idea. I put this audio sketch together and I wrote a small text about what it could potentially be, sent it off and waited some time and got a response saying, we really liked it.