INTERSTICES : a sound art itinerary

Launch: Wednesday, July 12 at 7 pm. The artists will be present.
From July 12 to August 30, 2017

During the summer of 2017, DAIMON will give free rein to seven sound artists and sound art collectives in the Montcalm sector, between the Fonderie and Pont de la Brasserie. Bringing together Audiotopie, Alaska B, Adam Basanta, Nicolas Bernier, Geert-Jan Hobijn, Christof Migone, and Sonia Paço-Rocchia, INTERSTICES reflects the diversity of current sound art practices and aims to playfully reveal the possibilities hidden in familiar and often neglected spaces.

Listening to a space transforms it. And this is what INTERSTICES aims to do, inviting the public into a space of reflection and dialogue with our immediate environment. All these projects were specifically created for INTERSTICES’ sound art itinerary, and each deals with its own realities, both concrete and imaginary. Sheets of paper and the current of the stream become the living thread of the sound works, while scraps of metal and plastic detritus are their instruments of choice.


Fragmentation : marking the sonic habitat

Roads, train tracks and fences create borders that break up and segment the spaces we live in, complexifying pedestrian movement and alienating us from our living environment. Much of the sonic territory of today’s city is monopolized by the sound of motor vehicles, which removes all depth from the soundscape and considerably limits the scope of our auditory perception. Fragmentation proposes a journey through this fragmented landscape, tracking down sounds produced by small percussive automatons—sonic animals dispersed throughout the area surrounding la Filature.

Created by artists Simone D’Ambrosio and Étienne Legast, these micro-interventions question the impact of land development by way of a sound-hunt, while proposing a reflection on the impoverishment of the sonic landscape and the fragmentation of our ecological framework.

Founded in 2009, Audiotopie is an artists’ coop whose practice is situated at the crossroads of architecture and landscape, new media and sound art. Through sound performances, itineraries and installations, Audiotopie explores relationships between sound, movement, and the social and sensory aspects of our environment. Their primarily in situ productions use means of dissemination that are adapted to the presentation sites and their functions. Audiotopie’s work has been presented in Canada, Italy, France and Portugal.

Christof Migone


A reading of pages scattered through a field. Strolling inside an unbound book. Quartets. Pairs of pairs that speak between and through each other. A book with no beginning or end. Phrases without sound. Sounds on the page. Limitphobic word games. Sense troubled by noise. Words reveal themselves on the white pages as being equally apropos and ambiguous, perceptive and perplexing. The gift of deaf. Investigations into the grammar of failure. A right eye and a left ear, a right ear and a left eye. Between sense, through the synapses. Mono plus stereo, one voice plus two. Simon Brown and Julie Doucet join the channel. A collective sound writing, a mini radio trio. A sequenced and detourned circuit: diffuser, transmitter, receiver, respondent. Phonyphonics. Noisefield. Place and time, here and now, where and when there is too much to say but nothing can be done and everything is under threat.

Christof Migone is an artist, curator and writer. He often works with language, voice, bodies, performance, intimacy, complicity and endurance. He co-edited the books Writing Aloud: The Sonics of Language (Los Angeles: Errant Bodies Press, 2001) and Volumes (Blackwood Gallery, 2015). A book compiling his writings on sound art, Sonic Somatic: Performances of the Unsound Body was published in 2012 by Errant Bodies Press. He is a founding member of Avatar (Québec City). He currently lives in Toronto and is an Assistant Professor in the Department of Visual Arts at Western University in London, Ontario.

Geert-Jan Hobijn

Plastic Souls

Plastic souls aims to sonify the plastic waste that can be found throughout the world’s waterways, thereby drawing attention to the intersection of the global and local, and to the ways that pollution recognizes no boundaries. These plastic souls are site-specific, adapted to the local environment of each site where they are presented. The artist involves the audience in the process of construction, rather than building the work for them. When the floating recycled plastic sculptures are placed in water, the waves and current act as the both the composer and musician by pumping air through the flutes and organ. The piece therefore plays music composed by natural movements, emitting strange and haunting sounds as the musical raft bobs and floats on the surface of the water.

Plastic Souls, in combining the soul with plastic, quirkily embraces a rather horrific reality: plastic is intimate.

“I don’t want to make work for museums. That’s death, which is fine if you’re dead yourself, but that’s not where I exist, and especially not sound – it belongs in society.” –Geert-Jan Hobijn

Since 2000, Geert-Jan Hobijn (NL) has been making sound artworks and performances, which are usually installed or performed in locations outside the museum – industrial settings, urban public spaces, even nature. Over fifteen years, Hobijn has amassed a multidisciplinary œuvre that is ephemeral and immaterial at the same time as it is physical and present. It bespeaks a poetic and experimental but also down-to-earth view of culture.

Geert-Jan Hobijn and Staalplaat Soundsystem are inseparable from their sound systems, from all the tools, toys, contraptions, appliances, vehicles, buildings, trees, and environments that share our domestic chores, work days, daily lives and urban existence.

Alaska B

Let the Destructiveness of Sorcerers, Their Gods and Protectors Descend Upon Themselves

The title, derived from a quote by Tibetan Buddhist Garchen Rinpoche, is to illustrate that one with a pure mind cannot be harmed. To defeat death and ignorance, one must allow the ‘enemy’ to defeat themselves with their own power. Applied to the context of queer resistance, spiritual invincibility can be derived from a resistive subversion of our devastation. In the face of the fear of a tragic grave marked with your assigned “Dead Name”, the continued pathologization/violent erasure of LGBT identities or the void left by so many men lost to AIDS/HIV, emptiness in turn creates a barrier against the sickness of shame that permeates transphobia and homophobia.

Designed to resemble both a Chinese grave and an extravagant music video set, light and sound interact in an occult pop-up book: A potent mixture of manga, Cantopop idolatry, traditional Chinese funerary rites & Buddhist iconography. This negotiation between religious and secular imagery inside of a fictional paper space tries to re-inject spiritual meaning into a post-colonial form of modernity, turning the questions “Where do you come from” and “What are you” into “Where are we going” and “What will I become”.

Alaska B (b 1984) is an interdisciplinary artist and musician. She holds a BFA (Concordia University, 2008, Interdisciplinary Studies in The Studio Arts) and a postgraduate degree in Computer Animation (Sheridan College, 2012). Her visual work moves between illustration, animation and installation, combining maximalist cartoons and cardboard with lights and electronics. She is the drummer, producer and leader of the Polaris and Juno nominated group YAMANTAKA // SONIC TITAN, and has scored several films and video games.

Adam Basanta


Triad is a sound sculpture consisting of three large mirror-polished stainless steel tubes. The hollow tubes act as acoustic resonators emphasizing the pitch sensation of a D-major chord.

With the tube openings at ear level, visitors can listen to the details of their surrounding environment through the acoustic filters. Through this listening process, visitors may attend with increased sensitivity to familiar and mundane sounds, which are now transformed through a musical lens. The existence of this musical quality is nonetheless reliant on environmental sounds.

While the seemingly half-hazard arrangement of the tubes creates an angular architecture at odds with its surrounding environment, the reflective finish allows the structure to fluidly integrate and at times disappear into its surroundings. This tension between imposition, overlaying, and disappearance is the crux of Triad.

Adam Basanta is a sound artist, composer, and performer of experimental music. Born in Tel-Aviv (ISR) and raised in Vancouver (CAN), he currently lives and works in Montreal (CAN).
Across disciplines and media, he interrogates intersections between conceptual and sensorial dimensions of listening, the materiality of technological apparatus, and the intertwining of human behaviour and mass produced consumer devices.
His work has been recently presented at Carroll/Fletcher Gallery (UK), National Art Centre Tokyo (JPN), American Medium Gallery (NYC), New Media Gallery (CAN), Moscow Biennale for Young Art (RUS), and The Center for Contemporary Arts Santa Fe (USA).

Nicolas Bernier

Structure parallèle 001

This intangible structure, which takes on a gaseous form and is made up of enticing colours, possibly contains a passageway to a parallel dimension. Light and electronic sounds come together to form a mystical object comparable to the sea in Solaris, the small shelter in Stranger Things, or the imposing monolith in 2001, A Space Odyssey. Endowed with its own intelligence, its message for us is both cryptic and haunting. Its irregular pulsing spire seems to provide it with an anchor in time, suggesting an inner life.

Technical assistance : Jean Philippe Pierre Louis

Nicolas Bernier creates audiovisual performances and installations, musique concrète, live electronics improvisations and video art while also working with dance, theatre, moving images and within interdisciplinary contexts. In the midst of this eclecticism, his artistic concerns remain constant: the balance between the cerebral and the sensual, and between organic sound sources and digital processing.

Awardee of the prestigious Golden Nica at Prix Ars Electronica 2013 (AT), his work has been presented in major events and venues like SONAR, Mutek, DotMov Festival, ZKM or Transmediale. His sound compositions are widely published on electronic music labels such as Crónica, LINE, leerraum, Entr’acte and empreintes DIGITALes. Nicolas Bernier holds a PhD in sonic arts from the University of Huddersfield (UK) and is a member of Perte de signal, a media arts research and development centre based in Montreal. He is teaching in the Digital Music program of the Université de Montréal.

Sonia Paço-Rocchia


These pieces ricochet between rough, pure and pretty. They are part of a larger research on timbre, in which I use a limited number of timbres to create a piece with the goal of being able to appreciate normally imperceptible timbre variances. The generative composition of these pieces tends toward a reverse engineering of my own way of improvising and interacting while playing the installation as an instrument or ensemble of automatons/musicians. The composition can be seen like a path where at each junction, one must choose between a different texture or timbre. These choices are influenced by the presence and behaviour of the listener in the installation.

Sonia Paço-Rocchia is a composer, improviser, sound artist, installation artist, maker, live coder and live electronics musician. Her work has been presented all over North America and Europe. This year, she composed Nouvelle vie, Nouvelle Ville, a port symphony for brass quintet, musical saw and stem-saw (one of her invented instruments), quadraphonic live electronics, 4 boats, one train and a basilica for Montreal’s 375th anniversary. Two installations from her Sentier sonore series were also featured at the 2017 edition of the Festival international de musique actuelle de Victoriaville.

Sonia Paço-Rocchia’s research focuses on sounds, timbres, forms and ways of communicating the abstract.