Oana Avasilichioaei
interweaves sound, poetry, performance, and translation to expand and trouble
ideas of language, histories, polyphonic structures, and borders of listening.
She has created many performance/sound works that mix electronics, ambient textures,
noise, and vocal play, published six collections of poetry hybrids, including
Chambersonic (Talonbooks, 2024) [
see my review here],
Eight Track (Talonbooks, 2019 [
see my review here], finalist for
the Governor General’s Literary Award and A. M. Klein Prize for Poetry) and
Limbinal (Talonbooks, 2015), and written a libretto for a one-act opera
Cells of Wind (FAWN Chamber Collective, 2022). She performs regularly in theatres,
art centres, and festivals in Quebec, Canada, USA, and Europe. You can find
an interview conducted by Erín Moure at the ex-puritan and
another more recently posted at YouTube;
conducted by nina jane drystek at periodicities: a journal of poetry and poetics,
and via Book*hug,
with further links to sound/performance works via Soundcloud and
Vimeo, including links to individual works
Oblique Theatre,
Tracking Animal (an extemporization),
Electroechoes and
Let Form Be Aural. Based in
Montreal, she has been a writer-in-residence at the University of Calgary and
Green College, UBC and an artist-in-residence at Simon Fraser University
(Vancouver) in 2018, OBORO (Montreal) in 2021, and Rhizome (Quebec City) in
February 2024. In 2025,
she was awarded the Bernard Heidsieck Centre Pompidou International Literature Prize for her intermedia work with literature beyond the book.
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