Soundwich XXII

Victor Drouin-Trempe

Researcher and professor, Victor Drouin-Trempe is currently pursuing a PhD in Art Studies and Practices at UQAM. Inspired by the notion of “living sound,” his work combines algorithms, modular synthesizers, and sounds from nature to create “sound creatures.” He regularly presents his work in Québec and internationally.

Also known as v.ictor, he produces electronic music inspired by microminimalist aesthetics.


Programme
Tout comme les taupes 10’32’’
This piece emerges from research into sound synthesis and attentive listening to micro-events. By combining micro-sounds and diffuse textures using custom-developed virtual synthesizers, the artist explores unstable sonic forms, favoring states, transitions, and variations in density over narrative or spectacular gesture.

Jean-Patrice Rémillard

Jean-Patrice Rémillard, known as Pheek, is a Montréal-based electronic artist active since the late 1990s. His work sits at the intersection of minimal techno, ambient, and sound experimentation, with a strong focus on texture, dynamics, and the movement of sound over time.

In performance, Pheek favors a living, organic approach: open structures, modular systems, and repurposed digital tools are used to create pieces that evolve in real time. Each performance becomes a space for exploration, where detail, imperfection, and attentive listening take precedence over technical display.

Alongside his artistic practice, he works as a sound engineer, mentor, and curator, supporting many artists in their creative and technical development. His music, like his performances, is rooted in a search for depth, presence, and connection with the listener.

Programme
Format de la pièce: Kunmeti 26’00’’
The piece presented is a semi-improvised performance, premiered under the name Jean-Patrice Rémillard rather than Pheek. Although the two practices intersect, this performance is more strongly oriented toward immersive listening, with textures that encourage more harmonious, meditative moments.

At a time when society is saturated with disposable music, the time devoted to listening becomes sacred and essential. The delicacy of the sounds evokes the natural movement of the forest, while drawing on electronic sources generated through simple repetition and manipulation, in an effort to recover a sense of comforting simplicity.

Mimi Allard 

Mimi Allard is a sound artist whose practice focuses on “body–system” relationships within a live performance context. Using custom-built instrument-systems, she creates connections between sound, movement, code/text, and minimal visual elements.

Inspired by the somatic dimension of the body, her work explores notions of memory, feedback, and sensory storytelling. Mimi is currently a master’s student in Composition and Sound Creation at the Université de Montréal.

Programme
Mémoire fantôme I  [A/V] 9’30’’
Modular synthesizers, Mosaïque, Max patches, RAVE/nn~, TTS, computer-generated imagery.

The essay-performance Mémoire Fantôme I is a poetic exploration of the continuum between memory and speculation. The piece maps regimes of memory spanning archives, future projections, and data hallucinations, revealing their entanglements and ambiguous intersections.

A synthetic voice device acts as a philosophical agent at the core of a media assemblage that evokes the genre of the desktop documentary. Rooted in the artist’s research on instrument-systems and living contexts of sound creation, the work stages the computer desktop as a site of research, performance, and real-time dissemination.