Susan Philipsz treats audio as a sculptural object, using historically-resonant sources—like an orchestral work by a composer who was interned in a German concentration camp in the 1940s—to create unexpectedly haunting and lyrical installations. Philipsz develops a series of projects across Germany and Austria, including the rehearsal of World War II–damaged instruments in a small German town and a new work connecting one of Vienna’s best-known public squares to its fascist past. Susan Philipsz was born in Glasgow, Scotland, in 1965. Philipsz’s work explores the psychological and sculptural dimensions of sound, with recordings of her voice and a variety of reworked musical compositions. Interested in the power of sound to trigger emotion, Philipsz responds to the architecture and history of the spaces in which her pieces are installed; her works prompt introspection and an examination of personal and collective memories, losses, and yearnings.