Benoit Maubrey’s work with audio art started in Berlin in 1982 with public sound sculptures, and he eventually turned to performative practices with portable audio embedded in clothes and costumes. His artistic practice currently spans site-specific and non-site-specific sound installations, locational and non-locational performances, as well as performed, interactive and non-interactive sound installations, and a comprehensive description of his artistic trajectory is planned for release in 2019: Benoit Maubrey – Sound Sculptures. His most well-known ensemble is The Audio Ballerinas, wearing tutus with a combination of solar cells, light sensors, samplers, radios, amplifiers and loudspeakers. The ensemble has been performing since its debut in Lille in 1990. Maubrey has developed a huge portfolio of audio ensemble performances on several continents, and an interesting thread of autonomy and critical reflection is running through his oeuvre. The costumes and their technical affordances have changed with new technological developments, and in this interview Maubrey explains these developments, and how he has maintained and extended his artistic focus.

中文翻译：

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用音频服装组织声音：对 Benoit Maubrey 的采访

Benoit Maubrey 的音频艺术工作始于 1982 年在柏林的公共声音雕塑，他最终转向表演实践，将便携式音频嵌入到衣服和服装中。他的艺术实践目前跨越特定地点和非特定地点的声音装置、地点和非地点的表演，以及表演、互动和非互动的声音装置，并计划对他的艺术轨迹进行全面描述。 2019：Benoit Maubrey – 声音雕塑. 他最著名的乐队是音频芭蕾舞演员，穿着结合了太阳能电池、光传感器、采样器、收音机、放大器和扬声器的芭蕾舞短裙。该乐团自 1990 年在里尔首次亮相以来一直在演出。莫布里在几个大洲开发了大量的音频合奏表演组合，并且在他的全部作品中贯穿着一条有趣的自主性和批判性反思的线索。随着新技术的发展，服装及其技术可供性发生了变化，在这次采访中，莫布里解释了这些发展，以及他如何保持和扩展他的艺术重点。