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Sound as Contact

Saturday, June 26, 2021 @ 8pm ET

Livestream Link:

(Note: If you miss the premiere you can still view the recorded concert at the livestream link.)


Curatorial Statement

Situated Sounds will take place as three performances throughout the 2020-2021 performance season. We are inviting artists to respond to the site and time specificity, based on the theme of the 3rd event: Sound as Contact, taking place on Saturday June 26th. The third event of the series 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.

Situated Sounds series aim to explore sound from an “embodied” perspective in this 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?

Situated Sounds is a series of curated performances 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.


Tim Feeney (US) –

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 (NL) –

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.


Sheldon Storey (CA) –

“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 instil 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 States, 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.”