HAVN

-with love from the HAVN team

HAVN Collective - Amy McIntosh, Connor Bennett, Sahara Soudi, Ariel Bader-shamai, Sid Drmay, Dima Matar, Petra Matar, Annie Webber -  as collective members we each contribute through various ways.

OPENING RECEPTION: Art Crawl, November 8th, 2019 @7pm HAVN presents '46 in Red Rock', a multimedia exhibition by  artist Tyler Muzzin (https://www.tylermuzzin.net/). Opening reception and Artist Talk on November 8th. View by appointment November 4th - 10th, 2019 https://www.facebook.com/events/2485509838362799 Red Rock Coulee was once the bottom of an ancient sea. Bedrock lies close beneath the surface and large red concretions appear sporadically like misplaced boulders amidst the banks of shale and sandstone. The concretions are formed by calcite and iron oxide that slowly accumulated around clusters of leaves, shells, and bones on the seabed 65 million years ago. Some of the concretions have a diameter of up to 2.5 metres. This part of the Alberta badlands is home to cacti, rattlesnakes, scorpions, and horned lizards; but, despite its desert features, Red Rock Coulee does not hold the record for hottest day in Canadian history. This record is held by the town of Yellow Grass, Saskatchewan, which reached 45 degrees on July 5th, 1937. 46 in Red Rock imagines a day when Red Rock Coulee surpasses Yellow Grass’s heat record, and anticipates one of the ways that this event might be represented – as a short documentary. The work in this exhibition responds to the ways that physical environments, and the events that happen within them, are measured, recorded and, in turn, represented and disseminated to the public. Video, projection, photographs, objects, and text present hypothetical moments when trivial data and statistics become form and image, often in humorously incongruous ways. Bio: Tyler Muzzin holds a BA in Studio Art from the University of Guelph (2013), and an MFA from the University of Lethbridge (2019). Recent solo exhibitions include This Apparent Magnitude at Trianon Gallery, Lethbridge (2019), Flower Arrangements for the Hillcrest Mine Disaster Cemetery at the Iceland Academy of Arts, Reykjavik (2019), and The Great Dark Wonder commissioned for The City of Burlington’s Public Art Lab (2019). Recent group exhibitions include Of Surroundings at the Southern Alberta Art Gallery, Lethbridge (2019), and Eulogy for the Coffin Factory at Nuit Blanche Toronto (2019). A folio of photographs from the Sentinel series was selected for publication in Spring 2019 by 89books, Palermo, Italy.

HAVN is happy to present the Sonic Art Series workshop: Introduction to Visualizing Sound with OPTICKS ! July 9th @7:30pm -  LOCATION TBA! Learn how to explore sound through colour, movement, pattern and more. Create real-time, audio-generative visualizations using Touchdesigner. Participants will get an introduction to the  software while observing creative effects and techniques for visualizing sound.  What can sound look like :) Please register by emailing [email protected] to confirm your spot and to receive instructions before the workshop. This workshop is free but space is limited. This series has been generously funded by the Ontario Arts Council and supported from the Factory Media Centre.  About OPTICKS: OPTICKS is a Hamilton experimental video/projection art group. They have monthly sessions where like-minded video and projection enthusiasts jam, experiment, collaborate, geek out, and learn with digital or analog projectors, cameras, video gadgets, cables, monitors, power bars, flashlights + shiny objects etc. http://opticks.ca/

OPENING RECEPTION: Thursday, July 4th from 6-8:30pm HAVN presents the Sonic Art Series exhibition 'Resonant Framework', a site-specific sound installation in HAVN's gallery space by artist Sean Procyk.  Come listen and experience the work from June 27th - July 14th. Gallery hours to be posted. Hamilton Audio Visual Node is located at 26 Barton St. East Hamilton, ON. The Sonic Art Series has been generously funded by the Ontario Arts Council. 'Resonant Framework' Sean Procyk is an unsettler artist and playground designer. his practice focuses on creating immersive public engagements through site-specific installation, architecture and community workshops. each project respond to its regional context, with a particular focus on the relationships that exist between landscape, community and ecology. Sean's work explores processes of ecological succession, land-based disturbance, human alienation and collective action. He works primarily with found, reclaimed and natural materials. The lands described under Treaty 3 of the Upper Canada Treaties is Sean's place of birth and location of his studio. The works he has produced here have been exhibited at Hamilton Artists Inc., Latitude 53, Stride Contemporary Art Gallery, Elemental Festival, Convergence Conference on Art and Technology in Banff and Nuit Blanche Toronto. He has a degree in Fine Arts from McMaster University, a Bachelor of Architecture from Carleton University and a Master’s of Fine Arts from OCAD University. Currently he teaches in the interaction design program at Sheridan College. GALLERY HOURS: Thursday, July 4TH from 6-8:30pm Sunday, July 6th from 12-3pm Tuesday, July 9th from 2-6pm Wednesday, July 10th from 6-8:30pm Friday, July 12th from 7-10:30pm ( ART CRAWL) Or by appointment (contact [email protected])

HAVN presents a night of sonic exercise and extraordinary feats of sound making with performances by Sophia Oppel & Doobie Freaks. Sets: ‘Measured Participation’ by Sophia Oppel @ 7:30pm 'For Your Convenience’ by Doobie Freaks @ 8:15pm PWYC by donation ~ Limited seating. Measured Participation BY Sophia Oppel “As we exist in digital environments we generate data to be mined by corporations; to have a digital presence is to perform unpaid, immaterial labor. This flattening of work and leisure means we are in a constant state of training; we are being directed by our online activities to carry out affective work. Measured participation makes reference to bio-tracking and fitness applications that facilitate data production and self-administered disciplinary regimes. I wanted to draw a parallel between training one’s body and being trained as a producer of data commodities online. This installation involves one performer in a blue one-piece suit who executes an exercise routine on a blue yoga mat as a video and voice-over play. The sound piece takes the form of an auto-tuned voice-over that reflects on the lived experience of provided unpaid virtual labour. The video presents a variety of found footage depicting exercise gurus performing workout regiments alongside stock-footage of people using digital devices. While the performer exercises, they are live 3D scanned using an Xbox Kinect. The live feed is projected into the existing video work.” Sophia Oppel is an arts practitioner born and based in Toronto, Ontario. Oppel’s work addresses the position of insidious, hegemonic power embedded in networked existence and its manifestations in embodied experience. Oppel’s practice is based in digital media and interactive installations; employing algorithms, web applications and software pre-sets as subject matter, she attempts to deconstruct the implicit assumptions imposed upon users. Oppel received her BFA from OCAD University and is currently a co-director of Bunker 2 Gallery and a Curatorial Project Assistant at Gallery 44. Oppel has exhibited locally and internationally, including shows at InterAccess Gallery, Queen Specific, Gallery TPW, Bunker 2, Forest City Gallery, Xpace Cultural Center and Supermarket Art Fair, Stockholm. __________________________ “For Your Convenience” BY Doobie Freaks Doobie Freaks is a legendary un-music band from Hamilton, Ontario. They will be performing within the confines of a vending machine where they will be making music, recording music and releasing it through the vending machine’s dispensing door for change. Is this about space (both physical and time) and convenience? Is it about inconvenient music in an inconvenient space? Or the inconvenience or convenience. Is it about FOMO or YOLO or LOL? Or is this just the doobie freaks being doobie freaks?

HAVN presents Sonic Art Series 2019! Celebrating ALL THINGS SOUND! We are excited to present the first exhibition of the series featuring sound sculptures by Annie Dunning and Ryth Kesselring. These works play with ideas of sound creation in the process of labour in nature and by machine. Listen and interact with these works from the opening on June 14th  to  July 5th, 2019 at the Factory Media Centre. This series has been generously funded by the Ontario Arts Council and supported from the Factory Media Centre. 'Sapsucker Sounds' by Annie Dunning This is a body of work that offers an opportunity to experience sound generated by a conflation of human and woodpecker culture. The work began with a found log, filled with holes made by a Yellow-Bellied Sapsucker. Each sculpture attempts to interpret the marks the bird has “recorded”. All woodpeckers use their hammering to delineate territorial range as well as find food. In addition to using hollow trees, they have been known to hammer on metal objects, taking advantage of the amplification these introduced items offer. This development in woodpecker culture that can expand an individual bird’s territory highlights the potential for inter-species cultural influence that must apply to human culture as well. Annie Dunning holds a MFA from the University of Guelph, ON. She maintains a multidisciplinary practice, primarily based in sculpture. With support from the Canada Council and the OAC she has produced and exhibited work across Canada and abroad in Japan, Germany, Belgium, Greece and the United States. Currently she is developing an immersive and interactive series of sound sculptures, funded by the national and provincial arts councils. ------------------------AND-------------------------------- "Sonic Textiles" by Ryth Kesselring Ryth Kesselring is researching “sound” textiles. In this installation she has stitched coils of silver threads onto felted fabric to create four-textile speakers and two textile microphones. Her research makes the link between sound and the textile object itself by using sounds from the making. In this particular installation Kesselring is blending the rhythms of an embroidery machine and the sounds of the repetitive action of the hands while stitching to the human voice. By using those different sounds, Kesselring puts in relation textile labour and its materiality and tempts to connect to the tradition of textile workers how are singing while doing their Needlework. Born in Switzerland, Ryth Kesselring moved to Québec during her childhood. She is about to obtain her Baccalaureate in Fine Arts at Concordia University with a specialization in fibres and material practices. She is part of studio subTela, where she works as research assistant on electronics and embroideries for smart textiles. Her research focuses on sound, textiles and the rhythms of craftsmanship as imprints of the textile memories. She is a recipient of several research grants and obtained the Milieux, institute for Arts, Culture and Technology undergraduate fellowship 2017-2018. Kesselring is also active as a studio art teacher in elementary and high schools. Her work has been shown in Québec, Switzerland, France and Iceland. About SAS 2 -   The Sonic Art Series (SAS) represents a continuation of HAVN’s mission, to support the development, exhibition, documentation, and dispersal of sound, images, and ideas. This is demonstrated through experimental and innovative art programming that features emerging and diverse groups of artists. SAS celebrates all things sound art. This curated program features contemporary sound art practice in Canada, presenting sound artists whose audible artworks connect ideas of sound with space; analog/digital audio in combination with physical sculpture; sound and performance art; improvised sound; visualizations of sound; as well as coded and interactive sound. This series has been generously supported by the Ontario Arts Council. http://havnode.com/SAS About HAVN: For over seven years, the Hamilton Audio Visual Node (HAVN) has been dedicated to supporting the development, exhibition, documentation, and dispersal of sound, images, and ideas through the programming of experimental and innovative art forms created by emerging and diverse groups of artists. We are a space, arts collective, and curatorial group striving to create and present the art of culturally diverse artists, as well as support performance, media, and sound-based works that do not fit within institutional structures. http://havnode.com/ About Factory Media Centre: Factory Media Centre is Hamilton's artist-run resource centre for film, video, new media, installation, and sound art. The Factory advances the discourse of contemporary media arts locally and nationally through exhibitions, screenings, workshops, educational and community-based programs, as well as access to multimedia equipment, editing software, and studio space. Factory is located at 228 James Street North in downtown Hamilton. The main gallery space is wheelchair accessible. Our washrooms are gender-neutral but unfortunately are not wheelchair accessible. Regular Gallery Hours: Mon - Fri 12-5pm http://factorymediacentre.ca/

HAVN presents Sonic Art Series 2019! Celebrating ALL THINGS SOUND! Stay tuned for more information about events and exhibitions!

!! CALLING ALL SOUND ARTISTS !! THIS IS A CALL FOR SUBMISSIONS HAVN is pleased to present the second annual Sonic Art Series! SAS II will explore new directions in sound art practice in Ontario and beyond. This year’s series will include three events taking place through Spring 2019 at HAVN and other locations in Hamilton, ON. The categories for submissions this year are as follows: Sound Art and Installation - sound in space Sound Art Performances - performance art incorporating sound Sound Art & Visual Projections - visualized sound Sound Art and the City - site specific sound art in Hamilton Sound Art and Language Submission Form: >> https://goo.gl/forms/PSy2kbG7d6WNyMbz2 << Submissions Deadline: November 15, 2018. This year's Sonic Art Series is generously funded by the OAC. [email protected]

For our last Sonic Art Series event of 2018, we are presenting two live sonic performances featuring the work of Kristina Guison and Sonia Paço-Rocchia! We are so excited for the Hamilton community to experience this tremendous work and celebrate the end of the SAS program. Performance Times TBA! ARTISTS: KRISTINA GUISON http://kristinaguison.net/ Kristina Guison is a Manila-born, Toronto-based, Filipino-Canadian artist. She works within the realm of sculpture, installation, performance, sound sculptures, tattoos and social practices. Her practice investigates issues relating to pathways of socio-political intersections across pre-colonial, post-colonial and contemporary transnational identities across multiple geographical spaces. “Landing” Landing is a sound performance that alludes to processes involved in construction/demolition sites and physicist, Werner Heisenberg’s theory: Uncertainty Principle. The theory became one of the concepts of quantum mechanics as it pertains to the ultimate mathematical impossibility of precisely determining a particle’s specific location and its momentum, simultaneously. The work, both in form and in concept, demonstrates the theory and metaphorically points to the precarious nature of human existence in the within post- modernity. Socio-economic interdependence in the global scale creates a sense of instability as changes are being introduced to us in an accelerating pace. Moments of stillness are fleeting and relative to our consciousness and perception as we respond to our peripheral and immediate environments. Everything is held in a state consisting of balance and friction, suspended in tension between impending collapse and regeneration. SONIA PAÇO-ROCCHIA http://musinou.net/ Sonia Paço-Rocchia is an improviser, composer, sound artist, installation artist, maker, live coder, live electronics musician. Her work has been presented all over North America and Europe. Improvising, she uses a myriad of sound-makers, invented instruments and sound automata, voice and mostly bassoon, along with live electronics. “Scies” A performance for sound automatons made from saw blades, musical saw, stemsaw, other instruments derived from blades and live electronics. The word «Scies» is the french word for saws and is pronounced exactly like the word «see». This piece is a comment on the contrast between the rough and dangerous and the meditative and enchanting. A side effect of this performance is it seems to compel people into making puns… «Literally at the cutting edge of music. » «Scies: You never saw a performance like this.»«Sonia Paço-Rocchia is a _keen_ coder, _sharp_ improviser and _cut out_ for instrument making.» «Her well-honed performances really have teeth!» «You can not forge a cutting-edge performance like this.» «A must-«Scie"!» 

“Smartphone Soundscapes” a two-part performance during April Art Crawl 2018 by artist Jamie Beverely. PART 1 - 7:30PM PART 2 - 9PM JAMIE BEVERLY Jamie Beverley is a programmer-artist based in Hamilton and Toronto, Ontario. Jamie’s artistic practice is rooted in musical live-coding using Tidalcycles and SuperCollider. He has been a member of McMaster University’s Cybernetic Orchestra since 2014, and has performed (solo or collaboratively) at three international conferences (ICLC 2016/2017, NIME 2017). “Smartphone Soundscapes” Smartphone Soundscapes is an improvised musical live coding performance distributed over audience smartphones. Lend your phone to the Smartphone Soundscapes network and appreciate your unique position in an evolving array of smartphone speakers that is supported by a stereo PA system. In this performance I will navigate a diverse range of soundscapes that are made possible by a large collection of audience devices capable of processing and synthesizing sounds. Through a custom-built live coding interface programmed in Tidalcycles and SuperCollider I will write code to orchestrate sounds on audience devices that are connected to the network. A web application hosted over the network receives messages from my computer, and leverages Web Audio technology to synthesize sounds. By projecting my computer screen, I invite the audience to engage with my code and recognize how changes made to the algorithms are reflected in the soundscape.