Victoria Stanton and Magali Babin

Evening of Performances

Wednesday November 11th, 2009 at 7:30pm

at Daïmõn Studiõ.

Open to Public

Victoria Stanton
Performance  of  Roadside Attractions, Hull
(in the frame of Research and Creation)

Victoria Stanton: <The first half of my residence was spent walking and visually mapping a variety of routes that lead to and from the place where I lived while here in Hull. Having documented several “micro-interventions” while out on these walks, in the second half, a montage of these subtle, yet public performances are to become the backdrop for a half-hour live performance: three-screen projected video accompanying repetitive actions (such as skipping, balancing, and “stationary bike-riding”), punctuated by inter-textual narration – reflections related to being in transit and in transition.

As negotiating new terrain is the central premise of this work, I continue to focus on parallels between performance and travel, and examine comprehensive states of “performative consciousness,” investing a “performative” presence within multiple spaces / times. This investment is multi-faceted as well, as it potentially re-invigorates a landscape for those who inhabit it; public sculpture, local signage and even local businesses become the subjects (and objects) of reconsideration once they have been incorporated (and distilled) into a performative moment. Seen in succession and placed in counterpoint to each other, the images and actions (both on and off-screen) come to visually embody a disjointed process of “arriving” while also proposing a strategy for Being. Here. Now.>

Magali Babin
Métal sur bois

This piece by Magali Babin was specially composed for and first performed in October 2009 at the send+receive sound festival in Winnipeg. The work is part of a series of compositions grouped together by the composer since 2004 under the heading “Honorables Objets”. With her singular way of scrutinizing material for the ear and with minimalist body movements, Magali Babin offers a re-reading of the everyday objects of our lives. Her piece “Métal sur Bois” is a demonstration of what she calls an object’s “sound geography”, a journey to the sound of things and an attention to the heart of noises. /

Victoria Stanton (Montreal, Canada) is a performance artist, video-maker, photographer and writer of fiction, poetry, critical texts, and songs. Her time-based work includes sound on stage, group actions in public spaces, video-projection performances, and one-on-one encounters to “consult,” interview or feed. She is interested in appropriating and disrupting the quotidian, in spontaneous intimacy, in treading vulnerability. Some performance work has been transformed into photo-installation or single-channel video. Performance writing and critical writing has appeared in several publications. Stanton is also the CEO of a bank: the Bank of Victoria. Such a lofty name deserves a big enterprise to match.

Magali Babin triturates, performs, composes and improvises with noises, sound and the sound of noises.
She does so with a few digital tools but especially with the most banal objects: contact microphones, turntables and of course her own surroundings.
She commits these acts alone, in a trio (mineminemine), in a quartet (Martin Tétreault’s Quatuor de tables tournantes) or in varying geographies (nociné Magali Babin reflects quite seriously and as often as possible on the following concepts: “The sound geography of objects”, “The space of a sound and the sound in space”, “Interferences between sound microcosms and macrocosms”, “For a pedagogy of noise art” and “Non-existent silence”. Her work has been experienced in the following environments: Mutek, Rien à voir, Suonidelpopolo (Montreal), MoisMulti (Quebec City), Send+Receive (Winnipeg), Transmediale (Berlin), High Zero (Baltimore), New Music Festival (Vancouver) and Root Festival (England).

Victoria Stanton et Magali Babin