SS SERIES

Situated Sounds will take place as three performances/presentations throughout the 2020-2021 Arraymusic Toronto performance season, with the first event on Saturday October 24, 2020, the second on March 27, 2021 and the third in the summer of 2021. 

Situated Sounds is a series of curated performances/presentations of sound art through an online platform that will present commissioned new work from a combination of established and emerging artists, both local and international,  from various disciplines as they respond to themes in relation to sound.


III. Sound as Contact 
06.26.2021



The third and final event of the season, Situated Sounds III: Sound as Contact has invited artists through a call for submissions to respond by contemplating the physicality of sound as it exists in the age of digital, social-distancing and stimulation-saturated global culture, exploring various methodologies of instrumentation.



Tim Feeney performs, composes, and improvises sounds and images in and for forests and waterfronts, investigating unstable sound, duration, and properties and geographies of neglected spaces. He appears in bookstores and basements with Sarah Hennies and Greg Stuart as the trio Meridian; in galleries and libraries with Vic Rawlings and Annie Lewandowski; in living rooms and warehouses with Clay Chaplin and Davy Sumner; in tunnels and train stops with Cody Putman and Cassia Streb as the trio Tasting Menu; in colleges and museums with Andrew Raffo Dewar, Holland Hopson, and Jane Cassidy; on recordings for Intakt, Black Truffle, Rhizome.s, Caduc, Full Spectrum, Sedimental, and Marginal Frequency; and in the occasional festival or concert hall with Anthony Braxton and Ingrid Laubrock.

His recent installation work has been presented by festivals at locations including Silo City, an abandoned grain silo and shipping complex along the river in Buffalo, New York; Boston’s Metropolitan Waterworks Museum, a preserved steam pumping station that processed the city’s drinking water; and the Bernheim Research Forest, outside Louisville, Kentucky; as well as by more formal events at the Contemporary Art Center New Orleans; the Ringling Museum of Art in Sarasota, Florida; and the University of Richmond. He is a faculty member in percussion, improvisation, composition, and experimental sound practices at the California Institute of the Arts.





Sébastien Robert is an interdisciplinary artist developing a practice at the intersection of visual art, sound art, and technology, driven by scientific and ethnographic research. In normal circumstances, the work of Sébastien takes root on the ground, with extensive sonic explorations of remote places captured through field recordings and later processed through modular synthesis: visual landscapes translated sonically.

Recently, Sébastien has been interested in reversing that process by studying the intrinsic properties of his modular system by implementing different composition techniques as described by Curtis Roads’ in his book Microsound. An analogue X-Y plotter sensitive to frequencies, amplitude and panning shifts draws in return abstract imaginative cartographies: (micro) sonic landscapes translated visually. Through this process, Sébastien is looking to create a stochastic yet subtle dialogue between sound and drawing while bringing different physical and time scales to our perception.
“I am a queer multidisciplinary artist working primarily in found material installations and assemblages. Using traditional and experimental techniques to bridge a system of wonder through the experience of grief (trauma), gender/power, and issues surrounding the environment. With a focus on the familiar pull of familial objects to conjure subjective notions of home, experience, sexuality, mental health, and relationships my studio practice integrates collecting both natural and found materials of curiosity to instill these ideas of wonder and observation of the peculiar body and its spaces. Applying drawing, print, and photography approaches allows for my studio practice to be forever in a dance of material and thought, the relationship to meaning and materiality rise and fall with expectation; a semiotic response to experience. And that is why I consider the influences of sculptors and morphologists, for I use materials, no matter the sort, to tell a story in form and system—whether of love, loss, or discovery. Working in a single car garage for a studio my work stretches from the size of a bottle cap to the precious enormity of a piano or fishing boat. The garage becomes a body of interpretation, acting as an omniscient force of labour and masculinity. My work has been exhibited nationally and internationally throughout Canada, United Sates, England, Germany, and Italy. Exhibiting with The Ontario Science Centre, OCAD University, Art Gallery of Peterborough, Norwich University and Artscape Youngplace, as well as the recipient of numerous artist grants and awards.”




II. SCIENCE OF SOUND
03.27.2021


SS II: Science of Sound is an exploration of sound from a science-inspired perspective with a particular focus on experimental methods. We propose a convergence of both artistic and scientific disciplines, where their mutual interests may lead to novel trajectories.





Zulkifle Mahmod (b. 1975) is one of Singapore’s leading sound artists. ZUL has been at the forefront of a generation of sound-media artists in Singapore’s contemporary art developmen – one of the genres of international contemporary art-making that has been garnering interest for its inter-disciplinary approach and experimental edge. ZUL represented Singapore with a Sound Art Performance at the Ogaki Biennale in 2006, and was Singapore’s first sound artist
with a full-on sound sculpture at the Singapore Pavilion of the 52nd Venice Biennale 2007.

ZUL has cut a reputation for integrating 3-D forms with ‘sound constructions’ and ‘soundscapes’, often crossing genres and collaborating with other artists. ZUL is also the designer for the first Singtel F1 Grand Prix Night Race trophy in Singapore. In early 2017, ZUL has been awarded the special inaugural honorary award, Soichiro Fukutake Prize by Benesse Holding Inc for his Singapore Biennale 2016 commissioned artwork. Henceforth, his artwork titled;
SONICreflection is now acquired by Fukutake Foundation, part of Benesse Art Site Naoshima in Feb 2019.

ZUL has exhibited in Singapore, Thailand, Germany, Japan, Vietnam, Italy, Moscow, China, Malaysia, Hong Kong, Taiwan, Norway and Finland. He was part of a creative talents traveling showcase in Beijing, London, New York and Singapore for Singapore Inside Out. His notable initiatives include an industrial-sound inspired soundtrack in conjunction with an Antoni Tapies exhibition at the Singapore Art Museum and winning Singapore Straits Time Life! Theatre Award 2010 for Best Sound Design (RPM by Kafai/Theatreworks).

Interspecifics (MX, CL) is an Independent artistic research bureau founded in Mexico City in 2013. We have focused our research on the use of sound and A.I., to explore patterns emerging from biosignals and the morphology of different living organisms as a potential form of non-human communication. With this aim, we have developed a collection of experimental research and education tools we call Ontological Machines. Our work is deeply shaped by the Latin American context where precarity sparks creative action and ancient technologies meet cutting-edge forms of production. Our current lines of research are shifting towards exploring the hard problem of consciousness and the close relationship between mind and matter, where magic appears to be fundamental. Sound remains our interface to the universe. Members: Leslie García, Paloma López, Emmanuel Anguiano, Felipe Rebolledo.

Carson Teal is a Canadian multidisciplinary visual artist and an experimental produce represented by Pari Nadimi Gallery in Toronto, Canada. Teal is known for his eloquent use of visuals and audio, creating environments that transcend the confines of physical space. Teal’s practice involves structural installations that create immersive environments, with the use of integrated media elements such as sound, found and constructed objects, as well as light projection. Employing aspects of collage, amalgamation and assemblage, Teal invites the viewer to follow the path he has created between the different mediums within his work. The work creates a framework to examine the relationships between seemingly disjointed imagery where the meaning of the work exists primarily in between them. The sonic elements become the driving emotional force behind the work, invisible to the eyes yet felt on a somatic level. Teal’s multi-disciplinary practice creates an opportunity to be fully present in the moment where the memory of the piece or performance can be recalled with a myriad of senses.





I. SOUND AS SPACE
10.24.2020

SS I: Sound as Space explores sound from an "embodied" perspective  in the time of social distancing. The series contemplates the various limitations, possibilities and opportunities that may arise at a time where aspects of our experience are radically altered, specifically in terms of geographical mobility and virtual interaction. How are sounds reimagined when situated at a time when there is much emphasis in maintaining distance within physical spaces and intimacy in virtual spaces?



LJL
Lebanese musician, producer, and sound engineer Fadi Tabbal’s work consists ofsound pieces ranging from stripped acoustics to ambient and electronic-inspiredtreatments. He has previously released 4 solo albums, with his 5th Subject to PotentialErrors and Distortions due for release on October 23rd via Beacon Sound andRuptured.In addition to handling engineering and production tasks at Tunefork Studios which hefounded in 2006, Tabbal is a member of several Lebanese bands. A specialist in sounddesign and conception, he’s worked on a variety of projects including sound and musicinstallations for museums, theatre, and film.

Website / Bandcamp / Soundcloud / Instagram 



Anne-F Jacques is a sound artist based in Montreal, Canada. She is interested inamplification, oblique interactions between materials and construction of variouscontraptions and idiosyncratic systems. Her particular focus is on low technology, trivialobjects and unpolished sounds. She keeps busy these days by doing weekly battery-powered performances in vacant lots in the southwest of Montréal.

Website / Bandcamp / Soundcloud