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EVENTS: Friday November 10th
Tickets: Festival Passes $25, single perfomances $15 at the door
The view the rest of the festival line up:

7:00pm – 9:00pm at Remai Modern Riverview Room (102 Spadina Crescent East)
Ora Clementi [crys cole (Winnipeg MB), James Rushford (Australia)] Adam Basanta (Montreal QC)
Door: $15 / Free w/ Festival Pass
Venue generously provided by Remai Modern

11 – Late at Aka artist run centre & PAVED Arts Event Space (424 20th Street West)
Sounds Like An After Party, curated by Jon Vaughn
• 11pm: Zac Knuttila (Saskatoon SK)
• 11:30pm: Trio ft. respectfulchild (Saskatoon SK) + Natanielle Felicitas (Winnipeg MB) + Martin Rodriguez (Montreal QC)
DJ sets by: Dissonance (Saskatoon SK) & Nwaylan (Saskatoon SK)
Door: $5 / Free w/ Festival Pass

Artist Bios:
Ora Clementi (Winnipeg MB, Melbourne AU)

Ora Clementi is the duo of Canadian sound artist crys cole and Australian composer-performer James Rushford. Formed in 2013, their collaboration is a unique investigation into liminal performance states, with a focus on text and speech as preconscious thought processes. Central to cole and Rushford’s duo are questions surrounding interpretation, the function of memory, semiotics, and the syntactical discipline of sound within both listener and performer. Utilizing various musical approaches in unorthodox and disorienting ways, their work incorporates field recordings, electronics, contact mics, various wind and keyboard instruments, percussion and voice. Using movement, conceptual performance practice and both amplified and acoustic sound, Ora Clementi play with subtleties of sensory perception, invoking a dreamlike context that hovers between musical performance and pure abstraction.

Adam Basanta (Montreal, QC)

Adam Basanta (b. 1985) is a Montreal-based sound artist, composer, and performer of experimental music. His work traverses sound installations, electroacoustic and instrumental composition, site-specific interventions, and laptop performance. Across disciplines and media, he interrogates intersections between conceptual and sensorial dimensions of listening, instabilities of instrumentality, and means with which site and space can be articulated.

Using controlled feedback techniques refined over a series of sound installations between 2014-2016, this performance is a meditation on the instabilities of sound production; the quiet, fragile and delicate phenomena resulting from the intertwining of
sonic technologies. During the performance, sounds are always created through collaboration between the performerʼs actions, the tendencies of sound production equipment, and the modification of acoustic and spatial relationships between various technologies.
Microphones and speakers are hand-manipulated to create delicate, low volume, harmonic feedback melodies and chords; jars are placed on top of speakers as physical sonic filters; cassette tape recorders record their surroundings and play it back in
phased loops. The performance relies on small movements, small changes in the relationship between performer and technologies, and technologies to one another, creating a sense of mystery and wonder as to how the musical results are achieved.

Thursday Night:

Saturday Night:

Sunday Night: