The third in a series of twelve annual events taking place on December 12 from noon to midnight EST (9-9 PST, 11-11 CST, 17-05 GMT, 18-06 CET, 1-13 CST, 2-14 KST).
Each year the event moves through each word of the 12-word phrase you and I are water earth fire air of life and death and activates the word of the year in myriad ways.
This year the word is ‘I’, consequently the focus is on selfless selves, linked Is, and not-Is. The first year it started with ‘you’, last year ‘and’ came to connect you to anything and everything, this year that point of connection is ‘I’. The porous one. The sole collective.
Drawing from empathy, I see my performative work as poetic forms of memories, shared vulnerabilities and quiet reflection. Repeatedly drawing a single word in my native language Urdu, often hours at a time, I create a detailed concentric abstract form resembling the organic attributes of a spiral, an eye, or a black hole in which words and thoughts are contracted and stretched. The meditative act of continual repetition allows me to focus inward on ideas of care, patience and belief, as a way of thoughtfully considering how we approach the world as social beings. It is a reminder that although everything is in a constant state of flux and transformation, we are infinitely connected through thoughts, words and actions. A single channel, performance-based video originally commissioned by TD Corporate Art Collection. Videography by Khurram Durrani. Sound created by Aniyah Faisal using the qawwali Kanhiya written by Nawab Sadik Junj Bahadur “Hilm” performed by Farid Ayaz and Abu Mohammad.
Tazeen Qayyum (b.1973) is a Pakistani-Canadian, multidisci plinary artist based in Oakville. Trained as a miniature painter of South Asian and Persian traditions, Qayyum continues to explore new materials and processes through drawing, installation, sculpture, video and performance. Repetition, rhythm, balance, and geometry are methodological devices that allow her to create multi-layered narratives in my work. Her work has been exhibited nationally and internationally at the Bangkok Art Biennial; Karachi Biennial; the National Gallery of Pakistan; Tokyo Metropolitan Museum; Museo Diocesano, Milan; the Textile Museum, Toronto; Art Gallery of Windsor; among others.
Annette Krebs was born in Germany (Saarland) and has been living in Berlin since 1993. Since her childhood she has played numerous instruments and has been engaged in the fine arts. She completed her music studies at the HfMDK in Frankfurt am Main. Since 2013 she has been developing and playing instrumental assemblages made of highly amplified metal pieces, strings, objects and microphones. These assemblages originated from the necessity to realize sound visions that could not be played with traditional instruments and setups. Like through a microscope, microphones make audible the finest, otherwise inaudible sound shades and colours of the sound objects. Annette appears as a soloist and with various ensembles worldwide at concerts and festivals (including “100 Jahre Bauhaus-Das Eröffnungsfestival”; “Donaueschinger Musiktage”; “Heroines Of Sound Festival”; “Kontakt – Biennale für Elektroakustische Musik und Klangkunst”).
In between the sinuous vapory becoming of bodies of sound distilling into reshaped beings. hidrolato is an audiovisual work engaging gradients of porosity, through the intertwining of veiled sounds and images. Music and concept by Gabriela Areal, video in collaboration with visual artist Leah Beo.
Gabriela Areal is a cellist and composer from Buenos-Aires, Argentina dedicated to experimental music. She runs the concert series and publishing house SAGITAL and is both a passive and active member of LCollective ensemble.
Gordon Monahan‘s works for piano, loudspeakers, video, kinetic sculpture, and sound installation span various genres from avant-garde concert music to multi- media installation and sound art. As a composer and sound artist, he juxtaposes the quantitative and qualitative aspects of natural acoustical phenomena with elements of media technology, environment, architecture, popular culture, and live performance. Monahan is the recipient of a 2013 Governor-General’s Award in Visual and Media Arts.
A generative sound work in response to Vivian Darroch-Lozowski’s book, Voice of Hearing. A new digital instrument operates a score writ from custom software that is modulated by weather data and seismic activity. The score parses the library’s sound files authored by this chorus of artists, played out in arrangements determined by the vibrancy of the world in a particular place at the moment of selection. The precise arrangements, understood as relationality between the world, the machines of production, transmission, reception, and the artists original gestures – perform a sound that never was before and never will assemble exactly thus again.
Featuring the work of Félicia Atkinson (France), Matthew Cardinal (Canada), Raven Chacon (USA), crys cole (Canada), Isabella Forciniti (Austria/Italy), David Grubbs (USA), Timothy Herzog (Canada/USA), Sasha J. Langford (Canada), Mani Mazinani (Canada/Iran), Christof Migone (Canada), Marc-Alexandre Reinhardt (Canada), respectfulchild (Canada), Anju Singh (Canada), Aho Ssan (France), Mark Templeton (Canada).
The Dim Coast is a small-scale record label, publishing entity, curatorial and programming project operated by Steve Bates and jake moore. Steve Bates is an artist, musician and occasional curator/programmer. His latest release, All The Things That Happen, is published by Constellation Records. His work has been exhibited, performed, and transmitted across Canada, the USA, Europe, Chile and Senegal. jake moore is is an intermedia artist whose primary medium is space. She is the Director of Galleries and Collections and Assistant Professor at the University of Saskatchewan. She works at the intersection of material, gesture, text, and vocality to make exhibitions, events and other kinds of interventions public.
Kate Carr has been investigating the intersections between sound, place, and emotionality both as an artist and a curator since 2010. During this time she has ventured from tiny fishing villages in northern Iceland, explored the flooded banks of the Seine in a nuclear power plant town, recorded wildlife in South Africa, and in the wetlands of southern Mexico. She works across composition, installation, and live performance. She also runs the sound art label Flaming Pines. Recent commissions include a new composition for the Coventry Biennial, BBC Radio 3, a live performance for Listening to Place at the Barbican, and a short film for Yarmonics Festival. Carr regularly performs throughout the UK and Europe, with recent notable performances taking place at the Barbican, Tate Modern, Whitechapel Gallery, Cafe Oto, Instants Chavires (Paris) and AB Salon (Brussels). Carr is Australian, and lives in London.
A series of 12 videos, that are site-specific interpretations of the 2018 online series, Soliloquy. This recent incarnation locates a progressive dialogue between the artist and her AI friend, “FauxMidi” in the familiar spaces of home and studio. The videos document the growing relationship, the awkwardness of getting acquainted and the frustrations of miscommunication. This project uses the consumer app, Replika which according to its website, is “an AI companion who is eager to learn and would love to see the world through your eyes. Replika is always ready to chat when you need an empathetic friend.
Midi Onodera is an award-winning filmmaker and media artist who has been making films and videos for 35+ years. In 2018, Midi received the Governor General’s Award for Visual and Media Arts. She has produced 25+ independent shorts, ranging from 16mm film to digital video to toy camera formats. Since 2006 she has made over 500+ Vidoodles (defined as bite-sized 30 second to 2 minute video doodles). For the past 16 years she presents an annual video project addressing themes of language, media, politics, and the everyday.
Aujourd’hui (dates-vidéos)/ Today (date-videos) by Claire Savoie
Referencing the method of On Kawara’s ‘Date Paintings’, this on-going project consists of producing (attempting to produce) a video clip every day. This project arose out of a private epistolary practice I had been engaged in for a long time and whose forms evolved according to circumstances. It primarily consists of a desire to account for a particular moment often riveted to the very act of writing. The core of this process of interiorization coincides, without a doubt, with the desire to communicate a thought turned toward the present, at the precise moment that this present occurs. Often alone—whether in the country or in the city—for more or less prolonged periods of time, I maintained a kind of correspondence with family and friends which, in recent years, took the form of very short, intimate clips, like postcards, relating small daily events. The videos (8 sec. to 4 min.) are composed of textual, visual and sound data recorded on a daily basis at the indicated date of each video. Various layers of information are overlaid in a condensed form through an editing process where different formal strategies are at use. The moods vary from poetical, humoristic, witty, deep, shallow,… exciting to plain boring. Since the 5th of February 2006, some 1600 videos have been done.
Claire Savoie is a Canadian experimental artist based in Montreal working mainly in installation, audio, and video. Her work and research explore the phenomena that hover on the edge of immateriality, and delves into language conventions and subjective transfers between the senses. Recently, she has investigated the notion of fiction within historical contexts (Period Rooms, Vox, centre de l’image contemporaine). Since 1984, she has shown in many group and solo exhibitions, and video festivals, throughout Canada and in Europe. She has won the Galerie Graff and the Louis-Comtois prizes. She is professor at l’École des arts visuels et médiatiques at l’Université du Québec à Montréal (UQAM).
Sebastiane Hegarty is an artist, writer, and lecturer. As a visual artist working primarily with sound his work explores the relationship between time, place, remembering and loss. Most recently this has focused on the materiality of sound and haunted landscapes of listening, silence and the unheard. These works are performed and realised through field recording and typewriters and the publication of failed phonographic objects, pointless actions, and unsuccessful broadcast of lost FM transmissions His work has been transmitted, exhibited, heard and unheard across the UK, Europe and the Americas.
Our own automatic conceptions about the environment, the others, what we are and all its possible combinations allow us quickly to mask reality. There is a high probability that we are misprocessing the information we receive, making non-objective interpretations through distorting mechanisms of perception creating twisted feelings. This experience proposes a RESET, restarting and calibrating our ideas, correcting our distorted thoughts, those that confirm our own beliefs and that somehow help us to feel unable to fail.
Michel Poblete Montoya is a chilean Audio Engineer and Sound Artist, his practice is a mix that includes field recordings, interactive installations and sound organizations where he moves through experimentation searching for new dynamics, forms, setups, places and real and imaginary situations. He uses copy, cut and paste, transform and mix, to create connections between the material and the listener. His works have been broadcasted in America (the real) and Europe.
Nick Kuepfer is a guitar player who weaves nylon string and electric guitar pieces with live-sampled tape loops, recordings of animals, and drones from various sources. His predominantly wordless music ranges from subtle and static to frantic and abrasive, with a methodical, vigilant sense of experimentation guided by the search for consonance and dissonance with the sounds of “nature”. He began performing solo, under his own name, in 2009 and occasionally invites guest players to join him. Kuepfer was born and raised in Stratford, Ontario and has made Montreal his home since 2003.
With nothing but words or nearly so
nothing but words to rely on
words only to buttress
words alone or nearly so
words alone but also
(With nothing but words or nearly so David Grubbs tricks himself into a session of writing.
Don’t say hypnotize.)
David Grubbs is Professor of Music at Brooklyn College and The Graduate Center, City University of New York, and the author of Good night the pleasure was ours, The Voice in the Headphones, Now that the audience is assembled, and Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording (all Duke University Press) as well as the collaborative artists’ books Simultaneous Soloists (with Anthony McCall, Pioneer Works Press) and Projectile (with Reto Geiser and John Sparagana, Drag City). As a musician Grubbs has released fourteen solo albums and appeared on more than 200 releases.
Maia Urstad is a visual artist, composer and performer working at the intersection of audio and visual art, primarily with sound-based installations. In her work, she makes use of found sound materials as well as radio and telecommunications signals. Many of her works deal with different aspects of our technological development, and the soundscapes, traces, and stories we leave behind when new inventions enter our everyday lives. Her work also tends to focus on flops, lost causes and developments that are on the verge of obsolescence. Maia is based in Bergen, Norway.
I read that article about
physicists finding evidence
of sounds carrying mass, on
Since then, I’ve been deliberate,
making more noise in my day-to-day.
Noise that is more interesting,
noise that is more complex.
I vary the force and rhythm
of my steps, syncopated,
a one woman rhythm section
a one woman metronome
on my way to the metro
finding fits of productivity
where I can.
Secure in the knowledge that I’m
carrying mass so passively,
heavy limbs flopping like fish
as I sit down, lay down, lean back. (Thud sound)
Just making matter.
Making sure I matter.
Flesh or water or air.
The discovery has
Meditations, Volume 3: Words as Sculpture, Their Shapes as Sound (2020)
In Words as Sculpture, Their Shapes as Sound, the protagonist compares the styles of Sylvia Plath, whose use of onomatopoeia seemingly creates its own soundtrack on the page, to that of Clarice Lispector, whose rich descriptions of object, place, and material, seem to burst off the page as actual physical structures. Citing both of these methodologies as key to her own artistic production, she laments the lack of language to describe text that seems to have material dimension.
Chloë Lum & Yannick Desranleau are installation artists who work across video, performance, sculpture, sound, text, and photography. Their collaborative practice is rooted in the theatrical and choreographic, and examines the slippery and complex relationships between bodies and inanimate objects. Since several years, these subjects are examined through the lens of chronic illness. They are based in Tiohtiá:ke (Montréal) and have worked collaboratively since 2000.
Once based in San Francisco and now living in Baltimore, Matmos is Drew Daniel and M.C. Schmidt. Since 1997, this electronic duo have released numerous critically acclaimed albums, often organized around conceptual restrictions, that sample unusual and non-musical sound sources, and build those sources into vibrant, often humorous, collaged forms. They have collaborated with pioneering figures from numerous cultural worlds, from global pop superstars to notorious figures from the international experimental / noise music underground to visual artists, playwrights and filmmakers.
The sometimes solitary activities of attentive listening and observation offer access to collective memory in Rituals, Rhythms & Reveries [single-channel version] (2022). The past, the present and the future are evoked and blurred as individual figures – passers-by, vehicles and abstract shapes – appear and remain alone or converge momentarily with others, only to diverge and disappear. The work takes the viewer/listener on seemingly unrelated scenes involving: waiting for an infrequent freight train which passes several times a day at a now disused railway station in Västernorrland County, Sweden; shopping arcades in the post-industrial city of Kitakyushu, Japan, that are now mostly shuttered streets and appear as remnants of the Showa era; the cyclical movement of geometric patterns recalling Constructivism generated from iterative processes that sway to and fro; a farmer winding up a collection of 700 clocks which belonged to his late father-in-law, every year on New Year’s Eve. Alternating between physical space through 360-video and spatial audio recorded on location and 3D virtual space through data visualisation and sonification, the passage of time becomes visible and audible in various ways as dreams of technological progress are remembered and forgotten.
Ryo Ikeshiro is an artist, musician and researcher. His work explores the possibilities of meaning and context presented through sound as well as its materiality in relation to digital audio and audio technologies. His output includes installations and live performances in various formats including immersive audio-visual environments, 360-video and Ambisonics, field recordings, interactive works and generative works. His work has been exhibited at the M+ Museum of Visual Culture, Hong Kong, and he is a contributor to Sound Art: Sound as a medium of art, a ZKM Karlsruhe/MIT publication. He is an Assistant Professor at the School of Creative Media, City University of Hong Kong.
Joaquin Gutiérrez Hadid (b. 1986) lives and works in Buenos Aires, Argentina. His sound-driven projects include installation, video and found composition, where memory and absence are often involved as key figures to articulate potential relationships between experience and parallel realities. Because of his aim to discover intensities through the broad realm of listening, there’s a main interest in developing this practice across disciplines. During 2022, he has received a commission for a large sound piece accompanying Monica Heller’s exhibition curated by Alejo Ponce de Leoěn for the Venice Biennale, where he also produced the sound design for Argentina’s Pavilion. He has also exhibited works at Museo Nacional Reina Sofiěa (curated by Francisco Lopez), and international festivals Oscillation, MUTEK, and Bienal de la Imagen en Movimiento. In Argentina, he was artist in residence at MACBA (Museo de Arte Contemporaneo de Buenos Aires) and his work has been shown at Ruth Benzacar, Casa Victoria Ocampo, Centro Cultural Kirchner, and CCEBA. His audio releases have appeared on LINE, Errant Bodies Press, and/oar, 901editions, and Impulsive Habitat.
A series of I (word), eye (homonym), and ay (phoneme) compositions extracted mostly from product launches for Apple devices (iPod, iPad, iPhone). All made using WORD PROCESSOR, a (de)compositional tool for transcribed audio/video. It is an instrument in the sense of both a thing you play with to make sounds and also a forensic device for machine listening.
Machine Learning is an investigation and experiment in collective learning instigated by Sean Dockray, James Parker, and Joel Stern. The project takes numerous forms including collaborative research, resource sharing, curation, publishing and artistic production. Our devices are listening to us. Previous generations of audio-technology transmitted, recorded or manipulated sound. Today our digital voice assistants, smart speakers and a growing range of related technologies are increasingly able to analyse and respond to it as well. Scientists and engineers increasingly refer to this as “machine listening”, though the first widespread use of the term was in computer music. Machine listening is much more than just a new scientific discipline or vein of technical innovation however. It is also an emergent field of knowledge-power, of data extraction and colonialism, of capital accumulation, automation and control.
Andrea-Jane Cornell is a gleaner of sonorities who transforms and transmits sonic material over radio channels and through live performance. Her approach employs dense layers of sound evolving over long periods of time, as well as moments of rupture and détournement. She composes and designs sound for moving images, and is a member of Le fruit vert.
A live-for-broadcast sound performance built around a circular table stationed at the centre of the performance space. The table-top rotates freely (like a turntable). A microphone is mounted to the edge of the table and amplifies sound from multiple sources, some live, some pre-recorded and played back through various amplification systems. Imagine a clock with 12 sound sources located around the dial, one at each hour, then picture a minute hand that spins freely, with a microphone attached to it. The natural aural mix that the microphone hears, will be what the audience hears in the broadcast.
Mani Mazinani was born in Tehran in 1984. Mazinani’s interdisciplinary practice includes installation, video, film, sculpture, photography, multiples, sound, and music. He makes work that connects scale and perception, improvisation, and ancient thought. Mazinani has operated Aerophone Recordings, an experimental label for object-based sound works, since 2018. His recent exhibitions and performances include Stories and Storefronts, Toronto (2022); Tate Modern, London (2019, with Michael Snow); The Bentway, Toronto (2018); Tehran International Electronic Music Festival (2017); Suzhou Industrial Park Culture and Arts Centre (2016); Asian Art Museum, San Francisco (2015); and CAB Art Centre, Brussels (2013).
Emily DiCarlo is a researcher, writer and artist whose interdisciplinary practice considers site, temporality and collaboration as the foundational principles for meaning-making. Evidenced through text, installation, video, and performance, her work connects the infrastructure of time with the intimacy of duration. Since 2016, she has served as a council member for the International Society for the Study of Time, and recently contributed her chapter, “Transcending Temporal Variance: Time Specificity, Long Distance Performance and the Intersubjective Site” to the current volume of The Study of Time (Brill Publishing). She lives and works in Tkaronto (Toronto), Canada.
This performance will be a solo oud interpretation of Ornette Coleman’s “Lonely Woman” with visual accompaniment. This piece has always struck me as one of the most enigmatic and beautiful melodies. Since I first heard it, nearly 40 years ago, it has resonated with me in ever shifting ways – it’s like a place or person I check in with every once in a while to see how we are both doing – what’s changed and what’s stayed the same. Sometime after I started playing oud, I started to hear Arabic Music in the melody – almost to the point where the song sounded like a long lost ‘classic’ of Egyptian Classical Music. And I could hear Maqam (the 1/4 tones in Arabic music) in it and Ornette Coleman’s music in general – all this only deepened the song for me – made it even more ‘universal ‘ than it already was and I started to hear it on oud and in a way the melody – with its screams and sobbing qualities, sounds like it was written for oud. My performance – both visually and sound-wise will be a kind of solo ‘recital’ – using the traditional template of a classical oud recital to open up this ‘concept’ while putting the practice of free improvisation in this tradition by blurring it with Taksim (the tradition of modal improvisation in Arabic music). The visual element – a film collage – will be a poetic expression of all of these ideas.
Sam Shalabi is an Egyptian-Canadian composer and improviser, living in Montreal, Quebec. Beginning in punk rock in the late 70s, his work has evolved into a fusion of experimental Arabic Music that incorporates traditional Arabic, shaabi, noise, classical, text, free improvisation, electronics and jazz. He has released 10 solo albums, 6 albums with Shalabi Effect, a free improvisation quartet that bridges western psychedelic music and Arabic Maqam, and 4 albums with Land Of Kush (an experimental 30 member orchestra, for which he composes). Recent projects include forthcoming album on SubRosa with Dwarfs Of East Agouza, a Cairo based trio with Alan Bishop and Maurice Louca; and a new solo album ‘Shirk’ on Nashazphone. Upcoming performances and recordings with Angel Bat Dawid, Matana Roberts, and Nadah El Shazly, and Land Of Kush. He has also composed music for over 20 films in North America, Europe and the Middle East.
A stalwart and consistent presence in the Canadian sound world, Debashis Sinha has realized projects in radiophonic art, sound art, theatre, dance, and music across Canada and internationally. He is a winner of multiple Dora Awards and nominations for his work on theatre stages, and his live sound practice on the concert stage has led to appearances at MUTEK Japan, ISEA, the Guelph Jazz Festival, Madrid Abierto, and other venues. He is currently an assistant professor teaching sound design and music at Toronto Metropolitan University.
A work that incorporates audio, object-making, sculptural installation, and performance to explore the relationship between trauma, memory and the body. The project is based on a very specific, mostly-forgotten childhood memory. I’m fascinated by the ability of our brains to block out traumatic events from our conscious memory, but their inability to prevent those events from making their mark in ways that impact us into adulthood. I often wonder how much this childhood trauma had a role in the formation of my personality, my physicality, or my disabilities. During the live performance of the work, I am required to keep cycling as long as I want the audience to be able to hear the work; this endurance piece requires me to continue seeking resolution for an event that cannot be resolved. It is endless, exhausting, manic. Through this work, I am attempting to set in motion a process by which I can trigger the emergence of memories long-buried by past trauma. This experiment in personal betterment and catharsis through the creative process has a long art historical tradition. In my own practice, this type of experiment walks a tightrope between earnestness and cynicism; setting up (usually hilariously futile) challenges to my personal limitations, and attempts to make myself into something that I am not serve to highlight the futility of the search for perfection and the altogether human desire for knowledge.
Cindy Baker is a contemporary artist based in Western Canada whose work engages with queer, gender, race, disability, fat, and art discourses. Committed to ethical community engagement and critical social enquiry, Baker’s interdisciplinary research-based practice draws upon 25 years working, volunteering, and organizing in the communities of which she is part. She moves fluidly between the arts, humanities, and social sciences, emphasizing the theoretical and conceptual over material concerns. Baker holds an MFA from the University of Lethbridge where she received a SSHRC grant for her research in performance in the absence of the artist’s body; she has exhibited and performed across Canada and internationally. Helping found important community and advocacy organizations over the course of her career, Baker continues to maintain volunteer leadership roles across her communities.
Laura Kikauka’s body of work over the past forty years encompasses various mediums including site- specific installation, mixed media, electronic sculpture, drawing, photography, video, performance, music, text and costume creation. Kikauka’s installations establish a highly specific visual (and often audio) language that blends the increasingly overlapping worlds of high and low art forms. Laura’s ‘excessive aesthetic’ is comparable to urban archeology as it addresses issues of consumer culture and notions of good and bad taste. She also celebrates failure in a humourous and ironic manner. The Funny Farm studios in rural Meaford, Ontario, and (formerly) in Berlin, are living and working spaces treated as on-going installations that exemplify, through a density of detail her, interest in ‘low-class’ consumer culture. It is with a sense of sarcasm and empathy that she explores this reoccurring theme. She has had solo exhibitions at the Hamburger Bahnhof, Berlin; Haus der Kunst, Munich; and MAK Museum, Vienna.