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Matt Warren about my "Eugene, eardresser" and "Text-O-Matic" installations for "What is a digital perm?", for Miss Despoinas, "Pataphysical Salon", October 2014, Art Space 146, Hobart, Tasmania
March 16 2016 issue of The Age Digital Edition. https://theage.digitaleditions.com.au/.
Jean Yve Leloup : paper in Culture Mobile, 01.09.2015
Computer grrrls
Une génération de compositrices apporte un nouveau souffle à la musique électronique
Un esprit d’entraide

Sweet Tribology, 2015, curated by Julia Drouhin
936 ABC Hobart by Damien Peck + National news TV
Julia Drouhin in Syntone, French sound art magazine by Etienne Noiseau
Discuts magazine, 2013
"Aerith’s Materia", 2015, original video by Lisa Campbell-Smith and Nancy Mauro-Flude, soundtrack by Julia Drouhin, Island Salon, 2015 Underbelly Arts Festival, Cockatoo Island, Sydney Harbour, Australia
2011 issue of The Wire printed edition.
Chocolate record making, playing and eating for Le Bivouac Sonore, a festival presented by French organisation Kogumi.
This event brings together artists and educators who are questioning electronic music practices and their transmission.
Music School of Venissieux, France, 2016 - https://www.kogumi.fr/festival - Pictures and editing : Adrien Mellot
LISTEN to PUT.USE.WHEN.CAN. December 2016, Paris, France. Recorded at Radio Campus. Julia Drouhin for F-Air Play session,with the artist and composer Ocean Viva Silver Valerie Vivancos and Dinah Bird.
Field recordings, a thumb piano, voices, a small record player and a melodica. Never waste a good opportunity we say to ourselves, Put.Use.When.Can. Broadcast in February 2017 on radia.fm, network of 25 cultural radios in 15 countries, using radio as an art form.
"Julia Drouhin (AU/FR), dramatically veiled in black lace among the mossy tombstones of Halle’s Renaissance cemetery, performs something ephemeral and edible. This French-Tasmanian artist, who has featured on ABC Radio’s Soundproof, is known for making records out of chocolate. A delicate process of casting confectionery in state of the art silicone reproduces the grooves with surprising fidelity. The sounds are as good as they taste and can be played for a little while before disintegrating. Some of the records break coming out of the moulds and are distributed to the crowd for consumption without ever being heard. I am surprised by how this brings the crowd together, like a strange sweet communion. Small radios across the cemetery play a broadcast backdrop composed of works by 40 women who collaborated on the project, their creations printed to vinyl disks from which Drouhin's confections were also cast."

in "An ear to the future of creative radio"
By Sophea Lerner: "Radio Revolten International Radio Art Festival, Halle, Germany" in RealTime issue #135 Oct-Nov 2016 pg.
PROJECT
PUBLICATION
RESIDENCY
WORKSHOP
PRESS
CONTACT
Sonar Primitif #7
Radio Primitive, Rennes, France, 12.11.2017
Julia Drouhin’s performance as part of Sonic Systematics, curated by Phillipa Stafford, Hobiennale 2017, Tasmanian, Museum and Gallery, Hobart, Tasmania, video still Lucy Parakhina.

Quoll resurrection by Lucy Hawthorne for RealTime
Another favourite performance was Julia Drouhin’s interaction with a taxidermied quoll. Sitting cross-legged in the corner of the convict-era Bond Store and surrounded by vitrines of specimens, Drouhin treated the animal with an antique Provita Generator or violet ray — an early 20th century device used to address everything from spinal conditions to dental abscesses. Borrowed from the Tasmanian Museum and Art Gallery’s (TMAG) education department, the quoll was taxidermied in a way that rendered the Tasmanian carnivore cute, domestic and even a little bit cool, making Drouhin’s pseudo-ritual all the more curious and absurd.
South China
Morning Post
RADIO REVOLTEN OU L’ART D’ÉMETTRE EN RELATION
Parmi les moments emblématiques qui retinrent l’attention : la performance de Julia Drouhin, qui avec Sweet Tribology rendit un savoureux et gustatif hommage aux créatrices sonores. L’artiste, après avoir joué un 45 tours en chocolat, le brisa pour distribuer les morceaux au public. Une impression de communion en émanait, accentuée par le cadre : le vieux cimetière de Halle. Entre les tombes, des radios portatives invitaient à suivent en mouvement la performance, sans en perdre une miette. Par Alexandra Baraille RÉFLEXIONS 2 MAI 2017 SYNTONE