Mark Peter Wright is an artist researcher working with experimental approaches to sounding and listening. His practice explores the relationship between humans, animals, environments and their associated technologies of capture: critically and playfully generating debate through exhibitions, performance and collaborative events.
He has exhibited internationally at galleries and institutes including the ICA, Flat Time House, GV Art, IMT Gallery, Platform A, MIMA, Southbank Centre and TATE [UK], CCA [Scotland], Museum of Contemporary Art [Italy], Lydgalleriet [Norway] and New York Public Library [USA]. Performance and public interventions include Apiary Studios, Art Licks, Café Oto, [UK] Trinity House Sq [Ireland], Bòlit Contemporary [Spain] and HIAP [Finland]. Lectures, workshops and papers have been presented at the Critical Media Lab [Switzerland], Harvard University [USA], University of Copenhagen [Denmark], University of Stavanger [Norway], Central St Martins, Goldsmiths University, Parasol Unit, South London Gallery and Yorkshire Sculpture Park [UK].
Recent articles include: Sensate Journal Harvard, Leonardo Music Journal, Continent Journal, British Library and Interference Journal. Anthology contributions and artist publications include: Listening and its not [SARU/Compost & Height], Tasked to Hear [Corbel Stone Press], Bio-critical Incidents [Sonic Terrain] and On Listening [Uniform Books]. He collaborates on various practice-based research projects including Matterlurgy with Helena Hunter and Points of Listening with Salomé Voegelin. He is also the founding editor of Ear Room, an online interview platform. He is currently based in London [UK] and blogs at Humanimentical doings.
'Wright plays with the language of audio surveillance - a bug, a fly on the wall - while also examining the relationship between technology and the non-human, between sentience and agency.' Tom Jeffreys, The Learned Pig
'Wright is attempting to create materiality out of the slimmest components - a kind of aural graphene that over time can change how we listen' Cherry Smyth, Art Monthly
''[Wright] challenges us not only to think about the actual site, its historical, aesthetic and political reality, but to generate an aesthetic and political consequence in the gallery.' Salomé Voegelin, Wire.
'In an art world dominated by discourses about looking and visuality Wright's work asks us to think more carefully about sound: its history, its politics, and its particular materiality.' Yvette Greslé, This is Tomorrow.