Six weeks, six artists, six brand-new sound installations, an immersive journey where sound, culture, and space collide in the heart of Glebe.

Proudly funded by Create NSW and Local Edition
Artists and Date: 

• Maissa Alameddine - 23 November

• Chloë Sobek- 27 November

Time:
Doors: 7:30 pm
Music: 8:00 pm

Address: 277-279 Broadway, Glebe

What is Glebe Sound Installation?

Glebe Sound Installation is an arts series where leading musicians and sound artists transform Local Edition into a living gallery of sound. Over six weeks, six artists create brand-new sound installations using handcrafted objects from around the world, reimagining the space through their unique cultural and artistic visions.

How it works?

Each week, one artist takes over Local Edition and transforms the space into a unique sonic environment. From Monday to Thursday, they develop and refine their installation using handcrafted objects and experimental sound practices. From Thursday to Saturday, the installation opens to the public, inviting audiences to immerse themselves in a new sound world. The week culminates in a special ticketed solo performance by the artist, presented alongside their installation — a powerful finale that completes and extends their artistic vision.

Why you should attend?

Over six consecutive weeks, six artists from Persian, Arab, Korean, and Australian backgrounds, each with distinct practices in sound art, improvisation, and performance, will reshape the same space into six completely different sonic worlds. Every week offers a new cultural lens, a fresh artistic vision, and a unique performance. It’s the rare chance to witness how one venue can be transformed again and again, and to be part of Sydney’s most exciting sound experiment, right in the heart of Glebe.

About Artists:

Maissa Alameddine - 23 November
Maissa is a multi-disciplinary artist, creative producer and experienced vocalist.  Maissa has performed solo and with Arabic and Persian jazz music ensembles as well as contemporary and classical Western orchestras. Maissa has performed with the Sydney Symphony Orchestra and has had shows at Phoenix Central, The City Recital Hall, Performance Space, Carriageworks, The Sydney Opera House and The Art Gallery of NSW.  Maissa recently performed in Germany as part of Documenta Fifteen International art exhibition.

Maissa has been part of the contemporary Arab Australian arts community for over twenty years.  She has produced a series of creative cultural projects in Sydney and is a founding member of Western Sydney-based Arab Theatre Studio (ATS). She is the Creative Director and one of the lead vocalists in ATS’s musical project Ensemble Dandana, a collective who produce Arabic music, deliver workshops and develop new and old sounds through experimental public improvisations.

Chloë Sobek- 27 November
Chloë Sobek is a composer-performer based in Naarm, Australia. Her work is currently centred on More-than-human-music, concerned with conceptualising the more-than-human within a sonic practice. The work points to a diverse enquiry of sonic and musical forms, from acoustemology through to Noise Music. Chloë’s practice is built around the Renaissance double bass, the violone. Her creative process couples maximalist and musique concrète sensibilities. She has been described as ‘an artist that is thinking deeply about how to aestheticise what’s on everyone’s mind; to use art to drive engagement with ideas whilst pushing the boundaries of technique and technicality ’ - Kieran Ruffles, 4zzz.

This installation presents an experimental archive of the violone, composed of sound and artefacts that resist conventional models of documentation and preservation. Rather than securing a lineage of repertoire or technique, the archive stages a speculative counter-history—an imagined genealogy that unsettles entrenched narratives of Western art music.

By foregrounding the instability, partiality, and constructedness of historical accounts, the work reframes the violone not as a static vessel of tradition but as a porous site of fiction, materiality, and transformation. Through fragments of sound, objects, and traces, the installation invites audiences into an unstable archive where the past is reconfigured, and new futures, and music history, can be imagined.