Archives for adambasanta

“The loudest sound in the room experienced very quietly” @ Invisible Dog Art Center, NYC

The loudest sound in the room experienced very quietly will be part of the Quebec Digital Art in NYC group exhibition, curated by CQAM, at Invisible Dog Art Center, Oct 22-25.

Opening Oct 22 @ 18h.

“Louder than a beating heart” (solo exhibition) Titanik Galleria, Finland Oct 19-25

Louder than a beating heart
Solo exhibition.
Titanik Galleria, Turku, Finland

Opening Oct 19 18h, exhibition runs Oct 20-25, 2015

Louder than a beating heart is a collection of new sound works investigating amplification as both conceptual subject matter and primary production technique. Each work strives to complicate, in its own way, the manners in which amplification operates in the acoustic, social, political, and personal spheres of life.

Through a series of works developed during a two-month residency at Titanik Gallery, amplification itself is interrogated as an intertwined acoustic-social-technological phenomena, allowing contemplation of processes of sound reproduction and their effect on social relations and the experience of listening.

Through the amplification of physical relations, technological artifacts, and naive sentiment, sound and listening are observed as both isolated phenomena and carriers of content.

Pictures and video soon!

Artist in residence at Titanik Galleria, Turku Finland

I will be in residency at Titanik galleria in Turku, Finland for September and October. During my time there I will develop a new body of works around the theme of amplification which will be presented in an exhibition at the end of October.

“The sound of empty space” a finalist in the FETA prize in Sound Art 2015

The sound of empty space was selected as a finalist in the FETA prize in Sound Art 2015, organized by the Foundation for Emerging Technologies and Art (Miami, FL). Congrats to the winner and fellow finalists!

Click here for a full announcement.

A room listening to itself @ The Center for Contemporary Arts – Santa Fe, NM

A new sound installation, A room listening to itself, will be presented at the Center for Contemporary Arts – Santa Fe, NM between June 12-September 13, 2015. The installation will open on June 12 as part of the Currents New Media Festival.

I will be there for the opening June 12, and will give an artist talk on June 13.

Here’s a short description from the exhibition curator:
Are relationships audible? Can sound create a sense of space? Adam Basanta’s site-specific installation A Room Listening to Itself explores amplified acoustic inactivity, creating a unique spatio-acoustic environment environment by subverting conventional sound reinforcement equipment. Microphones and speaker cones are situated in the space to respond to each other, creating feedback and other aural phenomena that are tuned and modified by a specialized computer software. As viewers move through the exhibition, they interrupt and change the spatial relationships, causing a variance in sound.

for more info see and

Two premiers this June in Montreal

Two new musical works for chamber ensembles and electronics premiering this June in Montreal… including a 15 minute work for Brass quintet, drums, and lightbulbs + a 3 movement, 30 minute juggernaut for percussion quartet, electronics, and interactive scenography! details below


An outlier always finds its place out of place
Brass quintet, drums, electronics, 6 computer-controlled lightbulbs
Commissioned and performed by Magnitude6, with the assistance of the Canada Council for the Arts

June 3+4, 2015 @ 20h30, Espace Aline-Letendre du Gesù, 1202 Rue Bleury, Montreal. more info here


 The privacy of domestic life
Percussion quartet, electronics, interactive scenography
Commissioned and performed by Architek Percussion Quartet, with assistance of the Conseil des Arts et des Lettres de Quebec.
June 18, 2015 @ 20h, Sala Rosa, 4848 boul. St-Laurent, Montréal

The sound of empty space // solo exhibition @ Galerie B-312

Very happy to present my first solo exhibition in Montreal, opening Feb 19, 2015 (vernissage @ 17h30).

“The sound of empty space” explores relationships between microphones, speakers, and surrounding acoustic environment through controlled, self-generating microphone feedback.
By amplifying and aestheticizing the acoustic inactivity between technological “inputs” and “outputs” – stand-ins for their corporeal correlates, the ear and mouth – the notion of causal sound producing object is refuted; we are listening to the empty space between components of flawed communication systems.
Through a series of new, interrelated works, sound is revealed not as an object or autonomous event, but a product of a complex, interdependent system of relations.

The show runs Feb 20 – March 21, Tuesday to Saturday, 12h-17h at Galerie B-312 (372 Sainte-Catherine Ouest #403)

Video interview with Kohlenstoff Records

Here is a little interview I did about my recent album with Kohlenstoff Recordsmemory is the residue of thought. I talk a little bit about my background, inspiration, and process.

The album is still available for purchase at the Kohlenstoff store.

Performances at De Monteford University (Leicester, UK) and Harvard University (Boston, MA) Dec 10, 2014

Two performances on December 10th…

synchronicity ain’t no thing, an electroacoustic miniature commissioned by Marij Van Gorkom using clarinet sounds as the sole sound source, will be presented at De Montfort University, Leicester, 7pm.

Meanwhile, on the other side of the world, a glass is not a glass will be played at Harvard University Music Department as part of the Hydra concert, curated by Hans Tutschku, 8:00 pm at the John Knowles Paine Concert Hall, Boston, MA.

“this machine” reviewed on Disquiet

My recent piece for piano and electronics, this machine breaths to the rhythms of its own heartbeat, is reviewed by Disquiet‘s Mark Weidenbaum.

Some highlights:

“…the voice with which the piece begins — a monologue that serves as the contemporary classical equivalent of the sort of procedural introduction… It lays out the facts, which have the plainspoken quality of the piece’s title, with limited emotion, a distance that lends the everyday a peculiar level of depth and intensity, of foreboding. The music then does those suggested qualities full justice… From there a mix of droning feedback and rarified piano figures alternate, the former no doubt originating in the latter. The result is an exploration of vibrant mechanical activity, from the white noise of strong feedback to the snare-drum-like rattle of open chords to isolated keys that echo like pin drops.”

for the full review, click here.