Not Practical (feat. New Chance)
Toronto’s Dan Lee steps out of the spotlight and into the producer’s chair on the new collaborative Lee Paradise LP, Lee Paradise & Co.
due October 28 2022 on Telephone Explosion.
The Doorway (feat. New Chance)
MISZCZYK’s debut album brings together a constellation of musicians – young and old, spanning the globe, beloved by fans or yet unknown.
released July 15, 2022
How To Paint Clouds
(New Chance Remix)
by Absolutely Free
Remix artists were given MIDI files of individual instruments to put the digital information through their own synths and drum machines to make a new track.
released May 5, 2022
It's Me, Robin
from Bonjourno My Friends
Released March 25 2022
on Telephone Explosion Records
Forest Foyer Feelings
Composer for film screening
May 8 2021
CFMDC & Images Festival
Images Festival and the Canadian Filmmakers Distribution Centre (CFMDC) host a screening of archival films with original soundtracks and a new score by Victoria Cheong aka New Chance.
Curated by Oliver Husain
An experiment in translation – from the past into the now; the screen into the web; 16mm to twitch; the room into the world; the mind into the forest.
With films by Vincent Grenier, Sarah Pucill, Midi Onodera, Ellie Epp, Chris Chong Chan Fui, David Rimmer, Mary J Daniel – who have all generously agreed to this re-staging of their work – and Tom Chomont and Jack Smith as the queer ghosts watching over us.
Amy Lam: Make-Believe Bathroom
September 15 – December 3, 2020
Online SFU Galleries
With Make-Believe Bathroom, Amy Lam creates a virtual space that provides an opportunity for escape or anonymous exchange, acknowledging the many ways in which the private and the public touch. In her artistic practice, Lam works within various modes of community to examine present political conditions. Her work often invokes humour to support constructive discourses that challenge imperialist systems and connect complex, often underrecognized, narratives to a broader public.
Curated by Jenn Jackson
Web developer: Naomi Cui
3D Renderings: Emerson Maxwell
Soundscape: Vic Cheong
Audio descriptions: Aliya Pabani
+ contributions from Jon McCurley.
An archive of the project can be found here: publicbathroom.online
& New Chance
October 19, 2019
The Music Gallery, Toronto
The exciting debut of an intergenerational collaboration between one of Toronto’s most iconic reggae elders and a grassroots electronic adventurer. New Chance, aka Victoria Cheong and Willi Williams (writer of “Armagideon Time” as covered by the Clash) create a new sound for your system with a project that grows from the roots forward into the future. Jamaica’s culture has had a profound impact on Toronto over the past fifty years; this is, as the saying goes, “a new chapter of dub”, celebrating and extending this tradition.
Now Magazine Feature by Jesse Locke
Photos by Yuula Benivolski
New Fries x New Chance
Released Sept 3 2020
EVER NEW is a Bandcamp-exclusive compilation of new music and covers by Canadian artists.
Named after pioneering singer and composer Beverly Glenn-Copeland’s 1986 song of the same
title, the collection of songs spans diverse genres and voices, with 100% of proceeds going to Black, Indigenous, and LGBTQ2S charities (Black Health Alliance, Indspire, and The 519).
curated by Max Mertens and Sarah Mackenzie
original artwork by Alex Sheriff.
Aisha Sasha John’s medium is energy. Her solo dance show the aisha of is premiered at the Whitney museum in 2017; in 2018 it was presented by the mai and Toronto’s 2018 summerworks festival. I have to live. (McClelland & Stewart) was a finalist for the 2018 Griffin Poetry Prize.
This performance features music by New Chance.
A work in progress by Aisha Sasha John
Curated by Sarah-Tai Black
Co-produced by Images Festival & Necessary Angel Theatre Company
HEAT (a work in progress)
Saturday April 13, 2019
The Costume House, Toronto
To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation
Council Chambers – Toronto City Hall,
OCADU, and University of Toronto.
Presented by The Music Gallery.
February 13-17, 2019
In 1970, Pauline Oliveros (1932-2016) wrote an orchestral score titled To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation. Created in the after-shock of the political upheavals of 1968, and after having read the radical feminist text “Scum Manifesto”, Oliveros’ score imagined a “continuous circulation of power” enacted through performance. The piece marked the beginning of her turn away from the hierarchical tendencies of contemporary classical music and towards a practice that she would continue to develop throughout her life that she called Deep Listening.
Scored for coloured light and any number of musicians, this influential and celebrated work is the subject of Public Recordings next major site-specific performance. Asking, in Oliveros’ words, “How do you go beyond what you know how to do?” Public Recordings has assembled an experimental orchestra of musicians and non-musicians to learn this piece together, through a series of public rehearsals in different locations around Toronto. This process will culminate in a free, one-time-only performance in Toronto’s City Hall’s Council Chambers.
Project instigated by Christopher Willes.
Contributing artists: Anne Bourne, Allison Cameron, Victoria Cheong, Ishan Davé, Prices Easy, Ellen Furey, Thom Gill, Claire Harvie, Ame Henderson, Brendan Jensen, Germaine Liu, Bee Pallomina, Liz Peterson, Heather Saumer, Brian Solomon, Anni Spadafora, Evan Webber, Christopher Willes and others.
Rehearsal direction: Kate Nankervis.
Co-Produced by Christopher Willes and Public Recordings. Developed with support from Happy like a flower, Toronto Arts Council, Ontario Arts Council, Feminist Art Museum, the Gardiner Museum, and Artscape Gibraltar Point. Performed courtesy of The Pauline Oliveros Trust. Published by Smith Publications 1973.
Toronto 2019 presentation developed in partnership with: The Music Gallery; A Different Booklist; Art Metropole; Colour Code Printing, Centre for Drama, Theatre & Performance Studies at U of T; University of Toronto Visual Studies; University of Toronto Faculty of Music; OCADU Cross-Disciplinary Art Practices and the Faculty of Art.
Photos by Yuula Benivolski
Composer, Collaborator, Performer
Dancemakers, November 2015
Darling Foundry Montreal, June 1-2 2016
Art Gallery of Ontario, April 6, 2017
Night Gallery Los Angeles Jan 13-14, 2017
Zalucky Contemporary, Toronto July 2019
Rosé Porn is a creation described by choreographer Zoja Smutny as a concept album that takes form through the process of the live performance. Three dancers, Zoja Smutny, Brendan Jensen and Claudia Fancello, compose a choreography around which the music of the DJ and artist Victoria Cheong is articulated.
In this performance, the usual frontier separating the public from the artists is fragilized. The dancers get close to the public, questioning ideas of intimacy and voyeurism, that are echoed in the title.
Visual arts influence greatly Smutny's work, who created Rosé Porn as an installation evolving through the performance. The form it takes varies, depending on who is in the room, and what shape the room takes is predicated on who is there. The audience plays part in making the architectural space. This work is intended for an intimate audience, where people are invited to circulate, to sit, to walk, to lie down, to close their eyes, to take pictures, to check out...
a live performance about "articulating the moments of presence," mixing elements of dance, cinema, installation, merchandising, music and environmental design.
Rosé Porn can be "walked through, photographed, watched directly or glanced at through a sideways look."
"As a generator of multiple objects through the choreographic event, Rosé Porn can also be smelled, worn, listened to, taken home," she says.
A project by Zoja Smutny
Performance : Zoja Smutny, Brendan Jensen, Claudia Fancello, Victoria Cheong
Music : Victoria Cheong
From the Rosé Porn album, a soundtrack of musical moments from the live performances of Rosé Porn from 2015 - 2017.
Vinyl edition release 07/13/2019
Meals for a Movement
Composer/ Sound Design
Directed by Annie Wong, Meals for a Movement is a three-part audio series to be listened to during each meal of the day: breakfast, lunch and dinner. Created in collaboration with poet Faith Arkorful, music producer and vocalist Victoria Cheong, and Wong’s mother Ming Chau Vong, Meals for a Movement imagines a range of feminist sentiments–indignation, resilience and solidarity–as bodily experiences of consumption and sustenance. Each episode creates a distinct acoustic environment through interplay of ASMR, poetry and music to collectively foreground the voices of BIPOC women in instances of anger and fortitude as they manifest in everyday life and are metabolized as nourishment.
Artists: Annie Wong, Faith Arkorful, Victoria Cheong, Ming Chau Vong
Curator: Letticia Cosbert Miller
Design: Natasha Whyte-Gray
Part 3 of Annie Wong's three-part series Meals for a Movement, this track created by Victoria Cheong orchestrates speeches of Mujeres Libres, Haunani Kay Trask, Theresa Spence and Angela Davis channelling the anger felt in their voices through your body and compelling you to dance.
Meals for a Movement imagines a range of feminist sentiments - indignation, resilience and solidarity- as bodily experiences of consumption and sustenance.
A Study on Collision and Empathy
The Theatre Centre, Toronto.
In A Study on Collision and Empathy, two dance artists with their own histories, priorities and aspirations agree to perform a duet while exploring their own process; sometimes parallel and sometimes intersecting. Using a game, virtuosic movement and their voices, they negotiate compromise and embrace togetherness.
Choreography / Performance: Justin de Luna and David Norsworthy
Mentoring / Dramaturgy: Lee Su-Feh
Music: Victoria Cheong
Costumes: Valerie Calam
Lighting Design: Gabriel Cropley
Usine C, Montreal, May 25-27, 2017
Canada Dance Festival, Ottawa, June 9, 2016
Zagreb Dance Centre, Sept 24-25, 2015
Ganz Novi Festival, Zagreb, Croatia, Sept 23, 2015
Istrian National Theatre, Pula, Croatia, Sept 18-19 2015
Part two of Ame Henderson and Matija Ferlin’s duet series is a temporal and embodied instruction manual for receiving loss.
Within the system of the collaboration between Henderson and Ferlin, every aesthetic decision originates as a gift, which presupposes a context–a story that produces a necessity. Out of Season is a series of such gifts–gestures of material offering. It’s a stream-of-consciousness gift-giving, humorous and emotionally devastating.
Following the comfortable impossibility of The Most Together We’ve Ever Been, the two choreographers turn their attention to each other, scored by music by Victoria Cheong (New Chance). Out of Season discovers synchronicity as a means to survive love, privilege, the sense of home, the made-up- and the tangible body.
Created with Paul Chambers, Victoria Cheong, Matija Ferlin, Mauricio Ferlin, Ame Henderson and sandra Henderson. Produced by Public Recordings and Matija Ferlin. Co-produced by Zagreb Dance Centre and the National Arts Centre. Photos: Dejan Štifanić.
Winchester Street Theatre, Toronto, May 24-18, 2017
New Works by Alicia Grant and Emily Law.
Victoria Cheong created an original mix for new work by Alicia Grant.
In collaboration with
Victoria Cheong, Laura Cournoyea, Jennifer Dallas, Justin DeLuna, Alana Elmer, Ame Henderson, Yuichiro Inoue, Rosemary James, Peter Kelly, megumi Kokuba, Pulga Muchochoma, Danah Rosales, Simon Rossiter, Jarrett Siddall, Christianne Ullmark and Andrew Zukerman
Luck Be a Lady is a mixtape released as part of the exhibition, Feministry is Here
Mercer Union, Toronto, Feb 23 -March 18, 2017
Collaborations, covers and remixes, music from performance, experiments featuring Romy Lightman, Evan Cartwright, Jonathan Adjemian
available on limited edition cassette
with artwork by Zoe Solomon
FEMINISTRY IS HERE is a declaration for a cute party: an exhibition and event series, where fabulosity and beautiful visions abound. FEMINISTRY IS HERE occupies space, and disorients it. A space to strut through the limited definitions for queer femmes. The entrance is also an exit. It is a negotiation of space by non-binary artists, who DJ, make objects, music, fashion, perform online, and IRL; sloughing cells of categorization, shifting, working, and sharing. FEMINISTRY IS HERE is messy. You might say “ew”, and that is a good thing.