Francis Alÿs is a determining name in contemporary art who made himself during the last decades of the XX century. Belgian but based in Mexico, Alÿs has always developed his work from multidisciplinarity, taking the artistic object out of its physical borders und understanding it as a living object: a call for action where social practice and political speech are completely present (and needed). One of his most prolific series is Children’s Games: which, since 1999 depicts children from all over the world getting to know each other in a playground, something that with the arrival of technology, has drastically changed up until today. In Siren (2023), which takes part of this project, the camera films nine Ukrainian children who imitate, each one in their way, the sound of a siren. With it, Alÿs gets back to two of his fundamental interests: the concept of repeating and the political radiology of a specific space-time context, and he wonders, what does the siren mean for these children, whose reality is determined by the war? Where does the sound they’re imitating come from? What role plays a tool like Air Raid Alert in the creation of meanings? What is the connection between technology and listening? Is siren a lamentation or the voice of a resistance? Daniela Urzola