Neil Leonard’s Matanzas Sound Map Turns Sound into Place at Tate Modern

The Tate Modern is featuring Matanzas Sound Map, a large-scale multimedia installation by Neil Leonard, artistic director of the Berklee Interdisciplinary Arts Institute, and renowned visual artist María Magdalena Campos-Pons. Running from March through October, the piece is part of the Tate collection and is installed in the East Tank, a former oil tank now repurposed as a gallery for live art, performance, film, and video.

Inspired by the vibrant sounds of Cuba’s Matanzas province, Matanzas Sound Map blends multichannel audio, video projections, and glass sculptures to immerse visitors in the region’s rich sonic and cultural environment. Leonard has spent over 30 years recording the area’s natural and human ecosystems, capturing everything from folkloric music to the ambient sounds of markets, rivers, and estuaries. He and Campos-Pons launched the project in 2015, incorporating hundreds of new recordings, including interviews with community members, into a deeply layered listening experience.

“I am deeply honored and excited to have the Matanzas Sound Map project exhibited at the Tate Modern,” said Leonard. “This was an extremely collaborative endeavor that involved speaking to and listening with dozens of people in the community, including pedestrians, artists, and musicians. We listened to things together and recorded sounds that they heard and made in their daily life. Visitors to the exhibit will share in a collective listening experience as well, as they are immersed in the sonic landscape of Matanzas, and I think the layers of collective listening experiences permeating this work are very powerful.”

Leonard refers to this deep engagement with place and sound as “sonic cartography.” The resulting composition plays through nine speakers encircling visitors, cycling through loops of environmental sounds, song, speech, and ethereal electronic textures. More than 350 audio clips have been edited, mixed, and mastered, with many reconfigured or resurrected from archived recordings specifically for the Tate installation, designed to accentuate the cavernous acoustics of the East Tank.

“This new showing reflects Neil's profound understanding of the unique acoustic and architectural elements of the building and beautifully responds to the visual and auditory dynamics of the space,” said Michael Wellen, senior curator of international art at Tate Modern. “The result is a dramatic blend of sculpture, video, and sonic art that brings to life the rich cultures and histories of Matanzas, Cuba, while also immersing visitors in the atmospheric drama of the building in ways never done before.”

Originally commissioned for the Documenta 14 contemporary art exhibition, Matanzas Sound Map debuted in Athens, Greece, in 2017. In addition to its sonic elements, the installation showcases striking visual works by Campos-Pons, including cast and blown glass sculptures, as well as environmental art composed of handmade paper and materials sourced from coconuts. The project also features contributions from legendary rumba and folkloric artist Raphael Navarro, Latin Grammy–nominated singer Ana Pérez, and members of the renowned Cuban rumba ensemble Los Muñequitos de Matanzas. For the first iteration of the work, Leonard collaborated with Berklee alumni Joe Branciforte BM ’07, Nassos Vynios BM ’94, and Nikhil Singh BM ’17, who assisted with mixing and mastering.

“For me, what makes the piece moving is that it is all organically generated original recordings,” said Leonard. “I talk with my students about how critical it is to carefully listen to the people you are collaborating with, and how we need to create a space where different voices can have input as to what we listen to and how we listen to it. From my perspective as an outsider, building this cross-cultural bridge was critical for the success of the project.”

Leonard’s work has been featured in major museums worldwide. In 2019, the Williams College Museum of Art exhibited his piece Sonance for the Precession, coinciding with his tenure as an artist-in-residence, during which he taught two courses in electronic music.