Experience a rare live AV performance by acclaimed pianist, producer, and composer Kelly Moran, an artist known for conjuring hypnotic textures and charting unconventional sonic pathways through classical, avant-garde, and electronic sound. Renowned for her explorations and manipulations of acoustic sounds, Moran has released a number of highly regarded albums and collaborated with notable contemporaries — FKA twigs, Yves Tumor, Kelsey Lu, Oneohtrix Point Never, and the Avalanches among them. For this unique VIFF Live presentation, she performs material from her celebrated 2025 album Don’t Trust Mirrors, released on Warp Records, which has been called a “sterling achievement … of commanding beauty” (Treble Zine).
Vancouver electronic musician and composer Bahar Khazei presents a special live AV set to open the evening.
Early bird tickets are available for this event until August 27
Oct 4
7:30 pm
8:00 pm
Book Tickets
Sunday October 04
Indigenous & Community Access
Indigenous Access Tickets Community Access Tickets Ticket Donation Requests
Artists
Kelly Moran
Kelly Moran is a New York-based composer and pianist who has spent her career excavating the sonic possibilities of the piano. In the past decade, Moran has released numerous acclaimed albums that have challenged the piano’s traditional, classically imposed school of thought with a more contemporary approach. Her unique strand of experimental piano compositions, which conjure hypnotizing textures and dramatic compositional arcs, have been included on year-end lists across classical, avant-garde, and metal genres. An accomplished and highly sought-after composer, Moran has collaborated with visionary contemporaries including FKA Twigs, Yves Tumor, The Avalanches, Kelsey Lu, Oneohtrix Point Never, and classical musician Margaret Leng Tan.
Bahar Khazei
Bahar Khazei is a sound artist, performer, and composer living in so-called Vancouver. Her work spans electroacoustic music, free improvisation, ambient noise, and synthesis. Originally from Tehran, she draws on themes of language, migration, othering, and belonging. Often using modular synthesis, prepared piano, collected sounds, field recordings, speech, and original compositions, she creates work that reaches liminal spaces where the familiar and unfamiliar meet. As an active member of Vancouver’s experimental music community, she regularly performs in the city’s free improvisation and underground noise scenes.
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