Flore Laurentienne at Tube Factory artspace
2025-03-26 19:00 - 21:00 (America/Indiana/Indianapolis) | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
Flore Laurentienne is performing at Tube Factory artspace on Wednesday, March, 26, 2025 from 7-9pm EST.
Tickets are $10 and can be purchased HERE via Eventbrite.
In addition, Indianapolis composer and instrumentalist Rob Funkhouser will open the concert.

Each performance is a chance to step into a world where music and nature intertwine—a rare and intimate experience.
Flore Laurentienne is an open window to the technicolor soundscapes of Mathieu David Gagnon – the Canadian composer, producer and multi-instrumentalist who shapes vast orchestral sound to interpret the rugged wilderness and waters of his native Québec. The namesake of an inventory documenting St. Lawrence Valley flora, Flore Laurentienne illumes the science and spirit of his surrounds through expansive string orchestrations melded with the textures and experimentation of early analogue synths.
Following the compass and critical acclaim of his Volume I debut, Flore Laurentienne returned in October 2022 with Volume II to resume his voyage into environment and emotion. Recorded with string and clarinet ensembles along with Gagnon’s signature modulation, Volume II explores forces of water as metaphorical markers to navigate passages of life and loss, . Reflecting the parallel tenors of nature and humankind, Volume II locates another estuary in Flore Laurentienne’s tides toward contemporary sonic romanticism.
In his approach to composition hued by leitmotif and constraint, Gagnon challenges himself to extract beauty from simplicity in homage to the changing faces of natural landscapes. The presence of familiarity and flux in Volume I is heightened through the vivid instrumentation of a fifteen-piece string orchestra, which Gagnon brings together with an array of 1960s and 70s synthesizers, including the Minimoog Model D, the EMS Synthi and combo organs – an innately ambitious project which forges the composer’s distinctive path in the expansion of classical music archetypes.
Flore Laurentienne was nominated in seven categories at the 2020 ADISQ in Québec, winning the ‘Arrangement of the Year’ and ‘Sound Recording and Mixing of the Year’. In 2020, Volume I was longlisted for the Polaris Music Prize and received four nominations at the Felix Awards for ‘Revelation of the Year’, ‘Songwriter of the Year’, ‘Critic’s Choice Album of the Year’ and ‘Instrumental Album of the Year’. In 2021, Flore Laurentienne was nominated for the** Juno Awards** ‘Instrumental Album of the Year’ in recognition for his contribution to Canadian music. In addition, Fleuve No. 1 opened the Chanel fashion show at Paris Fashion Week 2022.
Awards & Recognition
Nominated at the 2021 JUNOS Awards for Instrumental Album of the Year
Nominated on the 2020 Polaris Prize Short List for Volume 1
Winner at the 2020 ADISQ for Arrangement of the Yearfor Volume 1
Winner at the 2020 ADISQ for Sound Recording and Mixing of the Year for Volume 1
Nominated at the 2020 ADISQ for Best New Artist
Nominated at the 2020 ADISQ for Album of the Year – Critic’s Choice for Volume 1
Nominated at the 2020 ADISQ for Author or Composer of the Year for Volume 1
Nominated at the 2020 ADISQ for Revelation of the Year for Volume 1
Nominated at the 2020 ADISQ for Songwriter of the Year for Volume 1
Nominated at the 2020 ADISQ for Album of the Year – Instrumental for Volume 1

Rob Funkhouser is a composer, performer, and instrument builder who can never quite sit still. His work is concerned with ideas of place, memory, and pattern and he is interested in interrogating the interstitial spaces between established genres.

Ben Hall: Trunk Rattle Sound Bath
2025-05-02 18:00 - 2025-06-15 17:00
Trunk Rattle Sound Bath merges ongoing areas of Ben Hall’s research into polyrhythm (the simultaneous use of two or more contrasting rhythms), sonic immersion, and ancestral resonance through the lens of embodied listening. The title draws from the cultural experience of low-end frequencies booming from car trunks — windows shaking with no discernible rhythm, the body absorbing it all. “Vibrational frequencies are in everything,” Hall says. “Our bodies. We are observing by vibration even when we shut down. Our nervous system is still there, thrumming.”
With this new body of work, Hall focuses on not just what is played or heard, but what is felt, what is transferred through vibration, what buzzes and rattles in the body long after the source has passed. The body is a resonant shell for the vibrations that occur all around us. “The 17th-century Dutch physicist Christian Huygens observed the entrainment of pendulums,” Hall explains. “He noted in 1655 that if two pendulum clocks were placed near each other, they would synchronize. They wanted to be in rhythm with each other — but it was, and is, not instant. That move toward synchronization, toward harmony… The experience of rhythm, of immersion in sound, of allowing your body to be an entire resonating chamber is to allow that process to begin each time — and allow for the vibration to be you.”
Inspired by the mbira, a traditional African thumb piano with metal tines and built-in buzzers used in spiritual ceremonies to connect with ancestors, Hall draws a throughline from West African sonic cosmologies to Midwestern street corners. “Those buzzes are supposed to be the actual frequencies that cut through to the ancestors,” he says. “The consequence of the sound is what communicates with another world.” In this way, the sound bath is not a cleansing ritual in the New Age sense, but a full-bodied immersion in histories.
Hall makes the connection between the mbiras of tradition and the trunk rattle of modernity. “When you are at the red light next to the Buick,” Hall says, “you’ll notice that the rattling and buzzing is not consistent with the rhythm created by the bass frequencies coming from the vehicle. Often, it will seem that the rattling of your windows — a different distance, a different material from the sound maker — is not even related at times to the rhythm, as though the frequencies you’re hearing in the passing vehicle are somehow coincidental to the vibration in your home.”
Trunk Rattle Sound Bath invites visitors to consider rhythm not only as musical but as a way of knowing, of feeling, of remembering. “When a frequency, a sound (but also a rhythm, a repetition) occurs to us at a different frequency than the one we live in,” Hall says, “we are receiving energy. Frequency is just another way to say energy.” Whether through sound, image, or movement, Hall’s work opens a space for that energy to circulate — and for the body, buzzing like a loose antenna, to receive it. “Vibrational frequencies are in everything,” Hall declares.
About the artist: Ben Hall is an artist and composer based in/from Detroit, Michigan. He was profiled in Fred Moten’s 2017 book, Black and Blur and frequently works as a critic and essayist with a research focus on the visionary American composers Milford Graves and Bill Dixon. He formerly served as a senior research fellow at the Center for the Advancement of Public Action at Bennington College from 2018-2022. He has presented prints, drawings, film, sculpture and works for sound in numerous exhibitions including the solos Jives & Gambles at Essex Flowers in NYC and Slow An Alarm Until It’s A Tone at MOCAD (Museum of Contemporary Art Detroit). He is currently compiling material for the forthcoming publication, A Black Liberation Music Guide.
Curator: Landon Caldwell
Live performance: June 8, 12pm by Hall’s ensemble, Oceanic Beloved.
This exhibition is made possible by the Indy Arts Council and the City of Indianapolis, the Indiana Arts Commission, Allen Whitehill Clowes Charitable Fund, The Andy Warhol Foundation for the Visual Arts, and Efroymson Family Fund.

Sketch Club with India Hines
2025-05-07 15:00 - 17:00
If you love sketching and are looking for community, come hang out and draw with our longterm artist in residence, India Hines.
India Hines, a self-taught artist from Denver, CO, and raised in Indianapolis, IN, uses ink, watercolor, and oil paints to explore spirituality and the subconscious. Their intuitive process results in figurative faces and organic shapes that reflect a journey of growth, resilience, and love. India’s art is deeply meditative, rich with emotional depth, and narrates stories of overcoming adversity. Active in community projects and exhibitions, India believes in art’s power to unite and continues to push creative boundaries while exploring personal growth and self-discovery
