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Our 24th year encom­pass­es vast geo­gra­phies and minute ges­tures — post-indus­tri­al dub and diaris­tic cham­ber music; work­ing class urban song and deft­ly mate­ri­al­ist film work; orig­i­nal radio com­mis­sions and inter­ac­tive gallery works of play­ful trans­paren­cy. Join us this Sep­tem­ber and Octo­ber for a vari­ety of free and afford­able events through­out the city.

Day One

Thurs­day Sep­tem­ber 22nd — 7pm
Win­nipeg Art Gallery — Qau­ma­juq (300 Memo­r­i­al Boule­vard)

CLAIRE ROUSAY
ASHA SHE­SHADRI
VALERI MARI­NA

Our twen­ty-fourth edi­tion opens with a pro­gram of quo­tid­i­an traces, son­ic recon­tem­pla­tions of per­son­al and social space; fea­tur­ing Asha She­shadri, Valeri Mari­na and a trio per­for­mance of wouldn’t have to hurt” by claire rousay with more eaze and Mar­ilu Dono­van. claire rousay is based in San Anto­nio, Texas. Her music zeroes in on per­son­al emo­tions and the minu­ti­ae of every­day life — voice­mails, hap­tics, envi­ron­men­tal record­ings, stop­watch­es, whis­pers and con­ver­sa­tions — explod­ing their sig­nif­i­cance. Asha She­shadri moves freely between video, writ­ing, sound, and pho­tog­ra­phy. Her forms flow togeth­er to cre­ate unpre­dictable obser­va­tions of the over­looked, while doc­u­ment­ing per­son­al and polit­i­cal net­works with­in our col­lec­tive, imper­fect mem­o­ry. Valeri Mari­na is from Bolivia and cur­rent­ly liv­ing in Cana­da. Her work revolves around the explo­ration of sound from her migrant jour­ney, walk­ing with top­ics in ecol­o­gy, pol­i­tics, spir­i­tu­al­i­ty, and mul­ti­sen­so­ri­al­i­ty. Tick­ets avail­able by donation.

Day Two

Fri­day Sep­tem­ber 23rd — 7pm
Asper Cen­tre For The­atre and Film — Uni­ver­si­ty of Win­nipeg (400 Colony Street)

JERUSALEM IN MY HEART
MINCED OATH
VALERI MARI­NA

Our sec­ond con­cert is a mul­ti-sen­so­ry pro­gram of audio-visu­al works encom­pass­ing expand­ed cin­e­ma, algo­rith­mic sys­tems, and per­for­mance art; exper­i­men­tal Ara­bic music, mod­u­lar syn­the­sis, and sto­ry­ing song; fea­tur­ing per­for­mances by Jerusalem In My Heart, Olivia Shortt, and Minced Oath. Jerusalem In My Heart (JIMH) is a live audio-visu­al per­for­mance project fea­tur­ing Lebanese pro­duc­er and musi­cian Rad­wan Ghazi Moum­neh, and Mon­tréal based film­mak­er Erin Weis­ger­ber. Minced Oath is a project of Dublin-based com­pos­er Dunk Mur­phy, show­cas­ing a deep knowl­edge of syn­the­sis, soft­ware process­es, com­po­si­tion and tra­di­tion­al instru­men­ta­tion. Olivia Shortt is a Tkarón:to-based sto­ry­teller and per­form­ing artist. They are a mul­ti-instru­men­tal­ist, vocal­ist, noise­mak­er, impro­vis­er, com­pos­er, sound design­er, video artist, drag artist, cura­tor, admin­is­tra­tor, and pro­duc­er. Tick­ets avail­able by donation.

Pre­sent­ed in col­lab­o­ra­tion with WNDX.

Day Three

Sat­ur­day Sep­tem­ber 24th — 8pm
Nuit Blanche in the Exchange (behind 201 Portage Avenue)

SOTE
PEDRO OLIVEIRA (OLVRA)
MUTA­BLE BODY 

Join us on Nuit Blanche for a free, ful­ly out­door con­cert of exper­i­men­tal elec­tron­ic music in Winnipeg’s Exchange Dis­trict, fea­tur­ing Sote, OLVRA, and Muta­ble Body. Ata Ebtekar, bet­ter known as Sote, is an elec­tron­ic music com­pos­er and sound artist based in Tehran, Iran, whose detailed music encom­pass­es hard­core club sounds, acoustic and elec­tron­ic instru­men­ta­tion, and solo exper­i­men­tal elec­tron­ics. Pedro Oliveira (OLVRA) is a researcher, sound artist, and edu­ca­tor inter­est­ed in the artic­u­la­tions of colo­nial (son­ic) vio­lence at the bor­ders of the EU. Muta­ble Body con­structs hyper-real sound­scapes from syn­the­sized and sam­pled sources, orches­trat­ing worlds at once famil­iar and alien. It is the solo project of Win­nipeg, MB based com­pos­er Ali­son Hain.

Day Four

Sat­ur­day Octo­ber 8th 2022
Asper Cen­tre For The­atre and Film — Uni­ver­si­ty of Win­nipeg (400 Colony Street)

ANDY MOOR AND YAN­NIS KYR­I­AKIDES
FUJI||||||||||TA

Our con­clud­ing satel­lite con­cert fea­tures Japan­ese instru­ment builder and sound artist FUJI||||||||||TA, as well as the duo of Greek com­pos­er Yan­nis Kyr­i­akides and gui­tarist Andy Moor, who con­tin­ue their explo­ration of Greek rebeti­ka, along­side an adapt­able score fea­tur­ing an ensem­ble of Win­nipeg-based musi­cians. FUJI||||||||||TAs hand fab­ri­cat­ed pipe organ, with eleven pipes and no key­board, was con­ceived as a land­scape rather than a musi­cal instru­ment. Andy Moor has been a mem­ber of Dutch band The Ex since 1990. His ener­getic, rhyth­mi­cal­ly ori­ent­ed play­ing is char­ac­ter­ized by phys­i­cal manip­u­la­tion of the strings and parts of the elec­tric gui­tar. Yan­nis Kyr­i­akides is a com­pos­er and sound artist focused on cre­at­ing new forms, nota­tions and hybrids of media that high­light the mul­ti-sen­so­ry expe­ri­ence of lis­ten­ing. For this evening’s per­for­mance of Orbital, they are joined by There­sa Thor­dar­son (piano); Ben Reimer (vibra­phone); Gage Sal­nikows­ki (vio­lin); Nathan Krahn (cel­lo); and Jen­nifer Thiessen (vio­la). Tick­ets avail­able by donation.

Pre­sent­ed in col­lab­o­ra­tion with GroundSwell.

Ardor Radio Broadcast

Sat­ur­day Sep­tem­ber 24th — 7pm
95.9 FM CKUW/101.5 FM UMFM 

On Nuit Blanche, tune into a simul­ta­ne­ous broad­cast from 7:00pm CST — 8:00 CST by ambi­ent duo Ardor, cre­at­ed for send + receive and Nuit Blanche in part­ner­ship with 95.9 CKUW and 101.5 UMFM. Ardor is a col­lab­o­ra­tion between Body of Intrigue and B.P. — an aur­al evo­ca­tion of his­tor­i­cal land­scapes and land­marks with­in their ter­ri­to­ry and beyond. For those unable to lis­ten on the radio, we’ll begin our Nuit Blanche pro­gram behind 201 Portage Avenue with a volu­mi­nous pre­sen­ta­tion of the commission.

Lathullière/​Fitzpatrick — Esquisse/​Arrangement for Turnta­bles (1)

Sep­tem­ber 1st — 24th 2022
La Mai­son des artistes visuels fran­coph­o­nes (101219 Provencher Boulevard)

In part­ner­ship with Mai­son des Artistes, our twen­ty-fourth edi­tion fea­tures two works of ana­log can­dor and elu­sion, solic­it­ing explo­ration and play. Esquisse by Olivia-Faye Lath­uil­lière encour­ages the spec­ta­tor to trace sound­ing lines on a can­vas of mag­net­ic tape, draw­ing their own son­ic dis­cov­er­ies and asso­ci­a­tions by hand and by ear. Arrange­ment for turnta­bles (1) by Scott Fitz­patrick makes a mechan­i­cal inter­ven­tion in the gallery space, as mount­ed turnta­bles esca­late a mul­ti-rhyth­mic din. Open Wednes­day-Sat­ur­day, 11am-4pm.

On Sep­tem­ber 24th for Nuit Blanche, Scott Fitz­patrick will be in the gallery, phys­i­cal­ly manip­u­lat­ing and reor­ga­niz­ing the art­work in a dura­tional per­for­mance from 6 – 9pm. 

Pedro Oliveira — There is a Point at Which Meth­ods Devour Themselves’

Sep­tem­ber 9th — Octo­ber 7th 2022
Pool­side Gallery (300100 Arthur Street)

There is a Point at Which Meth­ods Devour Them­selves’ (2020) is a mul­ti-chan­nel sound piece on the lim­its and fail­ures of machine and human lis­ten­ing. The piece places the lis­ten­er at the cen­ter of the ques­tion what makes a voice human?’, as a ren­di­tion of Elo­mar Figueira Mello’s 1989 song Bal­a­da do Fil­ho Pródi­go’ unfolds in the room. This work is part of a long-term research project on so-called dialect recog­ni­tion soft­ware’, a pro­pri­etary tech­nol­o­gy used by the Ger­man Office for Migra­tion and Refugees in cas­es of undoc­u­ment­ed asy­lum seek­ers. The error mar­gin of this soft­ware is report­ed to be around fif­teen to twen­ty per­cent. Com­mis­sioned by the Max-Planck Insti­tute for Empir­i­cal Aesthetics.

Pre­sent­ed in col­lab­o­ra­tion with Video Pool Media Arts Centre.