Bio -  Laura Malacart is an Italian born visual artist, freelance writer and part-time lecturer based in London since 1989. 

She is currently working on a doctorate focussing on the role of sound agency (as language/noise/music) in relation to audio-visual representation using the metaphor of Ventriloquism. She believes that sound is the most powerful mode of communication and representation, yet it should not be approached as a separate channel but in connection with other modes of perception, like vision. For a number of years she has worked with video, sound and live and recorded performance, focussing on the power of sound to convey and direct meaning.

Example of works have featured: the role of sound in medical representation (Aural Mounds, 1999); the role of the operatic voice and its embodiement versus representation (Duet, 2005 and Mi Piace 2008); the use of soundscapes in critiquing televisual representation of emergency scenarios in urban environments (Dissimulation, 2005/6); how to self-ventriloquize in a live performance (Whitechapel Gallery, 2006); police representation in a dance film using a soundtrack made with police handcuffs (Flamenco, 2004-5). Other works have included live theatre performances, like In the Face of Heaven, a 30 minutes theatre performance using a live mixing of 8 sound sources. An anti-history on the occasion of the British celebration of the Battle of Trafalgar in 2005, exploring the portrait of Emma Hamilton at the death of her unmarried partner Lord Nelson.

Laura Malacart lectures in London, while her AHRC funded research is based at the Slade School of Fine Art (University College London). She is also a contributor to Filmwaves magazine/Art in Sight, where she recently guest edited an issue on Documenta XII.