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/ Opening

The sound installation series investigates real and imagined sounds beyond the hearing spectrum. It continues with a visit from scholar/artist Salomé Voegelin and the world premiere of Juliet Palmer’s latest work, Inside Us.

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Inside Us

Exhibition: Feb 2-10
Opening: Feb 1, 7pm
Performance: Feb 8, 8pm
Tickets: Advance $15/10 — Door $20/15

 

Composer Juliet Palmer transports listeners into the acoustic poetry of the body’s interior in her new performance installation Inside Us. Vocal soundscape combines with diagnostic ultrasound recordings, giving voice to the rhythms of the circulatory and respiratory systems. Attentive listening dissolves notions of scale and place: from the constrained intensity of vessels leading to the brain to the cavernous resonance of blood as it washes from the liver back into the heart. In a unique live “mix”, vocalist Laura Swankey joins the VOICE OVER mind choir in the gallery on February 8.

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Artist Talk

Listening Beyond
Salomé Voegelin
February 10, 1 – 3pm

 

Swiss/UK scholar Salomé Voegelin introduces her ideas on sound and ‘possible world theory’. Starting from her recent book Sonic Possible Worlds (2014) and its suggestion of invisible sonic slices that show the actual world in its possibilities, she will engage in the political dimension and opportunities of such possible worlds, encouraging a political practice of the audible and of what we cannot yet hear.

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ARTIST BIOGRAPHIES

New Zealand-Canadian composer Juliet Palmer is known as a “post-modernist with a conscience” (The Listener) whose work “crosses so many genres as to be in a category of its own” (Toronto Star). Juliet is the artistic director of Urbanvessel, a platform for interdisciplinary collaboration. Recent works: Invicta, with text by Blackfoot Pikani spoken word artist Zaccheus Jackson (Signal Theatre and The National Youth Orchestra); Quarry for soprano Sarah Albu and Continuum (Touching Ground Festival); The Man Who Married Himself with librettist Anna Chatterton and choreographer Hari Krishnan (Toronto Masque Theatre); Vermillion Songs for tenor Simon O’Neill and NZTrio; Sweat, a cappella opera with writer Anna Chatterton (Bicycle Opera tour; and Center for Contemporary Opera, New York); Boots, an interactive boudoir opera (Opera Peepshow); Singing River, a site-specific performance at the Wonscotonach/Don River (Aanmitaagzi, Native Earth, Evergreen and Pan Am Path); and Voice-Box (Harbourfront World Stage premiere and Fresh Ground commission). Voice-Box was acclaimed as “a performance piece that smashes the boundaries between disciplines and leaves them sprawled out on the mat, down for the count” (Musicworks Magazine).

Salomé Voegelin is an artist and writer engaged in listening as a socio-political practice of sound. She is the author of Listening to Noise and Silence: Towards a Philosophy of Sound Art, Continuum, NY, 2010, which has achieved national and international recognition for offering ‘a refreshing departure from the many surveys of sound art’ (Michael McCrea, Sound Art, June 2010) and for ‘making a powerful case for preserving the “immersive complexity” of auditory experience against a critical language, that […], is always guided by the imperatives of the visual’ (Montgomery, The Wire, August 2010). Her second book Sonic Possible Worlds: Hearing the Continuum of Sound, was published by Bloomsbury in June 2014. It adapts and develops possible world theory in relation to sound to produce a meeting of the semantic and the phenomenological at the place of listening. David Rothenberg, writing in The Wire (370, December 2014), suggests it ‘might change the way you listen, and increase the depth of your questioning and wondering.‘ and Marcel Cobussen, calls it a ‘provocative and challenging endeavor to take this necessary discussion to a high scholarly level without losing the connection with the art works themselves.’ (Journal of Sonic Studies, http://sonicstudies.org/voegelin2014) Her most recent publication Colloquium: Sound Art – Music, Zero Books, Winchester, 2016, co-edited with Thomas Gardner, makes the relationship between sound art and music colloquial, spoken and practised rather than a matter of disciplinary boundaries.