台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

首頁 展覽資訊
展覽名稱 Exhibit

「超音樂・異聲驅動」

Living Sound—Expanding the Extramusical

展覽時間 Date

2019/04/27 (SAT.) ~2019/07/07 (SUN.)  

展覽地點 Venue

台北當代藝術館 一樓主展區

策展人 Curator

賴依欣 Lai Yi-Hsin Nicole

參展藝術家 Artists

王虹凱Hong-Kai Wang

江忠倫Chiang Chung-Lun

咖容琳娜・布瑞秋拉Karolina Breguła

奈鳩・布朗Nigel Brown

莊偉Isaac Chong Wai

楊嘉輝Samson Young

展覽介紹 About the Exhibition

超音樂・異聲驅動

策展人|賴依欣

 

展覽簡介

 

沒有什麼是出界的。用德里達來解釋,沒有多餘的音樂* 

 

聲音和話語,是日常的一切,也是社會個體溝通、傳達和理解彼此的重要媒介和產物。因此,它同時具有政治性和社會性意義,形塑和包含著個體、集體、多元社會和文化之間的溝通與傳達的各式管道。

 

「超音樂・異聲驅動」探索聲音的社會性、文化性和能動性,即其所具有的超音樂性的特質,藉由聲音的非物質與物質性、聲響和傳播特質,重思社會、政治、性別、階級和不同的經驗所形成的視角如何做為其主體性的組成。此次展覽試圖提出幾個層面的思考,並藉由作品有更近一步相互交織的討論。首先,聲音和話語做為互動的媒介與產物,在相互作用之間,如何與鄰近的人、事、物產生意義,成為一種脈絡構造;且在跨越時間和空間的傳遞與相互詮釋中,又如何重新創造理解的意義。在王虹凱的作品《甜小調練習》中,她邀請學生進行一系列的「musicking」音樂生成工作坊,從當代生活者的角度,重返並再詮釋麻豆地區糖業勞動者的音樂社會生活史,將音樂和聲響視為編創公共場域和身體政治的方法與生成。奈鳩・布朗的《聲響象徵:建成國中鐘樓》,則針對台北當代藝術館旁建成國中的場域特質,邀請學生共同敲響僅做為象徵物而從未被使用過的校鐘,重新理解鐘和鐘聲作為日常的指引和紀律的象徵性,亦是場域精神和記憶的連結與召喚。

 

展覽內涵亦試圖思考,在日常的話語和聲音之外,我們如何發現並重新理解那些隱性的和破碎的聲音殘渣,並藉由作品對聲音的反白與顯現,進而重新理解和想像被遺落的聲音碎片。江忠倫的《無人樂隊#當代館》邀請台北當代藝術館的工作人員針對自身的工作場域和經驗進行歌詞的書寫,以當代館作為展演的場域,將擴大的聲音練習與個體的經驗和視角,成為擾動和翻轉層級位置和機構政治的表述方法。而楊嘉輝在「消音狀況」系列中提出「靜音不是沉默(或消聲)」的思考,作品通過有意識的揭露和消聲不同聲音層的優先級,來重新聽到和理解聲音的情況。如果聲音有其展現的主導性和被邊緣化或消聲的狀況,我們如何藉由聽到和不聽到,進而想像和假設多種聲音的協商與張力關係。

 

更進一步,展覽思考聲音如何藉由其超音樂性的多種可能性,喚起個體和全體在社會間的能動性,重新思考、定義或想像個體與集體之間的社會結構關係。莊偉的《位於未來的聲音》所提出的參與式藝術的表演,和咖容琳娜・布瑞秋拉以展覽剩餘物所製作的《噪音樂器》,此樂器在展示的過程中可出借予人們在抗爭示威中製造噪音用,皆是希望藉由作品的參與式行動和擴大的聲音練習,讓參與者的身體進入到日常公共場域之中,創造述說和表述的管道,也重新探索聲音和話語的創造與接收的空間及主體位置。


 ⃰ Kim-Cohen, In the Blink of an Ear: Toward Non-Cochlear Sonic Art. p.107

 

 

Living Sound—Expanding the Extramusical

 

Curator:Lai Yi-Hsin Nicole

 

Nothing is out of bounds. To paraphrase Derrida, there is no extra-music.⃰

 

Sound and speech make up everything in the daily life, and are important media for and products of communication, delivery of meaning and mutual understanding between individuals in a society. Therefore, they also carry political and social implications, shaping and encompassing multifaceted channels for the communication between individuals, groups, diverse societies and cultures.

 

Living Sound—Expanding the Extramusical explores the sociality, culturality and agency of sound, along with all the extramusical qualities it embodies, and reflects upon the formation of subjectivity from perspectives informed by social, political, gender, class and other crucial experiences through exploring both sonic non-materiality and materiality of sound as well as their communicative characteristics. This exhibition reflects on several levels in the hope to prompt further and interwoven discussion. Firstly, it focuses on sound and speech as media and products that are interactive and discusses how they produce meanings when the interaction is carried out with the related people, things and objects to form a contextual structure, re-creating the meaning of understanding through communication that transcends space-time and mutual interpretation. In the work Sweet Minor Keys, artist Hong-Kai Wang invites a group of students for a series of ‟musicking” workshops, whcih adops, a contemporary perspective to revisit and reinterpret the social-sonic history of laborers working in the sugar industry in Madou Tainan, treating music and sound as a formative method to fabricate the public site and body politics. Nigel Brown’s work Sounding Symbol: Jian Cheng Junior High School Bell Tower, on the other hand, focuses on the site characteristics of the adjacent Jian Cheng Junior High School. Together, the artist and the students sound the school bell that only as a symbol and the function has never been used, as a way to re-examine how bells and bell sounds serve as a form of guidance and a symbol of discipline while reviewing how they connect and evoke the spirit and memory of a site.

 

The exhibition also reflects on how we discover and re-comprehend invisible sonic fragments hidden from daily conversations and sonic scenes, and through highlighting and revealing sounds made by artworks on view in the exhibition, encourages audience to re-interpret and re-imagine these hidden fragments. In Nobody Band #MOCA Taipei, Chiang Chung-Lun invites the museum staff to write about their work and turn their experiences into lyrics. The museum is then transformed into a performance site, through which the practice of singing as well as individual experiences and perspectives are amplified, constituting an expressive method to stir and reverse the rank structure and politics of the institution. In the Muted Situation series, Samson Young proposes the idea of ‟mute is not silence. Muting is not the same as doing nothing.” By foregrounding and unveiling certain sound layers and consciously muting others, the series presents audiences situations, and simultaneously opportunities, to listen to and understand sounds again. Whereas the presentation of sounds exposes the dominance of certain sounds and the marginalization or muting of others, the series prompts audiences to imagine and hypothesize negotiations and tension between multiple sounds through the interplay of hearing and not hearing sounds.

 

Taking a step further, the exhibition also looks at how sound, with its varied extramusical possibilities, awakens individual and collective social agency to re-consider, re-define or re-imagine the social structure and relations between individuals and collective communities. Isaac Chong Wai proposes a participatory art performance in One Sound of the Futures, and Karolina Bregula’s  Instruments for Making Noise exhibits instruments made from detritus of exhibitions. Throughout the exhibition, the instruments can be borrowed for people to make noises in demonstrations. By engaging people in participatory works and expanding the practice of making sounds, the artists hope to incorporate the participants’ bodies into daily public sites, creating channels for narrative and expression while re- exploring the creative and receptive space of sound and speech as well as their subjective positions.

 

 ⃰ Kim-Cohen, In the Blink of an Ear: Toward Non-Cochlear Sonic Art. p.107

 

參展藝術家 About the Artists

入口形象區/Entrance Hall

江忠倫 Chiang Chung-Lun

 

江忠倫生於臺灣,畢業於國立臺南藝術大學造形藝術研究所,擅長以多樣的創作形式表達個人脈絡歷史。作品多以生活的日常表現藝術景觀,讓日常生活與創造行為相互作用,滲透出平淡本身存在著異於奇觀的低限力量。2009年與黃彥穎、蘇育賢組成「萬德男孩」團體,標榜以輕鬆、有趣、詼諧的無厘頭與創作對話,以減法消解構築藝術的層層藩籬。

 

Chiang Chung-Lun was born in Taiwan, and graduated from the Graduate Institute of Plastic Art, Tainan National University of the Arts. He specializes in using diverse forms to express individual life and history. His work mainly focuses on showing artistic landscape through daily actions and expressions, which enable mutual influences between daily life and art practice to reveal the quotidian force in existence itself that is different from spectacles. In 2009, he co-founded an art group, named Wonder Boyz, with Huang Yen-Yin, Su Yu-Hsien, and have been producing lighthearted, amusing, humorous and nonsensical ideas and creative works to dissolve and deconstruct barriers around art.

 

 

105展間/R105

王虹凱 Hong-Kai Wang

 

王虹凱生於臺灣虎尾,維也納藝術學院藝術創作實踐博士候選人。創作上關注殖民與離散的勞動歷史,探究「視」與「聽」於權力、生存經歷和歷史交錯點上被遮蔽排除或消失的知識政治,以表演、聲音、工作坊、裝置等形式,實驗不同的聆聽與聚集模式,探觸時/空交錯中欲望生成、共存想像和知識維度之間複雜與多變的關係。

 

Born in Huwei, Taiwan, Hong-Kai Wang’s research-based practice confronts the politics of knowledges lost in colonial and diasporic encounters at the intersection of lived experience, power, and “listening.” Through experimental modes of sonic sociality, her multidisciplinary work seeks to conceive of other time-spaces that critically interweave the production of desire, histories of labor, economies of co-habitation, and formations of knowledge.

 

 

1樓 走廊/1F Hallway

奈鳩・布朗 Nigel Brown

奈鳩・布朗生於澳洲。2004年在墨爾本皇家理工大學獲媒體藝術的學士學位,專攻聲音研究,並於2006年完成藝術碩士。自2004年以來即從事聲音和實驗音樂領域的工作,他通過修改既有的樂器或其他物件以探索聲音的可能性,專注於實質物體的物理實驗發展。其作品通常針對特定地點,利用地方歷史、社會背景、環境場域以及聲學,吸引人們進入專注的聆聽環境。2016年他自澳洲墨爾本遷居臺南,與張惠笙創立的「聽說」工作室,為一推廣聽力練習和實驗音樂的空間。

 

Born in Australia, sound artist Nigel Brown received his BA in Media Art and MFA from RMIT University in Melbourne, Australia respectively in 2004 and 2006. Since 2004, he has focused on practices of sound and experimental music creation. His art practice involves modifying existing music instruments and other objects to explore sonic possibilities, with an emphasis on developing physical experimentation of material objects. His work is usually site-specific, for which he integrates local history, social background, environmental characteristics and acoustics to capture people’s attention and engaging them in the act of listening. In 2016, he relocated from Melbourne, Australia, to Tainan, Taiwan, and established Ting Shuo (Hear Say) Studio with Alice Hui-Sheng Chang to promote listening practice and experimental music.

 

 

106展間/R106

楊嘉輝 Samson Young

楊嘉輝生於香港,澳洲雪梨大學音樂、哲學及性別研究學士,香港大學音樂哲學碩士、美國普林斯頓大學作曲博士,師承電腦音樂先驅保羅.蘭斯基,是一位跨域且融合科技與新媒體的藝術家,關注聲音藝術的聆聽文化。他以機率、偶發音樂、具象音樂及圖像記譜學等前衛的作曲技法,從文本的聲音走向本質的再探討,思索「還原/化約」的概念實踐,使作品兼具美學、觀念性及互動的有趣體驗,溯及藝術表現的本真性,以及文化政治與聲音的關聯。

 

Born in Hong Kong, Samson Young holds a BA degree in Music, Philosophy and Gender Studies from the University of Sydney, an M.Phil in Music Composition from the University of Hong Kong, and a PhD in Music Composition from Princeton University, where he was mentored by the computer music pioneer, Paul Lansky. A multi-disciplinary artist whose practice merges technology and new media art, Young’s work mainly focuses on sound art and the culture of listening. Using avant-garde compositional traditions and techniques, such as probability, aleatory music, musique concrète, and graphical notation, he shifts from textual sound to re-explore inherent nature of sound and practices the concept of “reduction.” Combining aesthetics, conceptuality and intriguing interactive experience, his work reveals the authenticity of artistic expression as well as the relations between cultural politics and sound.

 

 

107展間/R107

莊偉 Isaac Chong Wai

莊偉生於中國廣東,為香港藝術家。於2012年香港浸會大學視覺藝術院學士畢業,2016年於德國魏瑪包浩斯大學取得公共藝術及新藝術策略碩士學位。他的創作受個人境遇、社會議題和國際現象所影響,以行為、公共藝術、錄像、裝置與多媒體等形式,詮釋公共領域與人權、集體與個人、離散、戰爭以及時空政治等議題,其作品中人體之間的張力、介入和互動,體現人類社會系統關係的縮影。

 

Isaac Chong Wai is an artist from Hong Kong (born in Guangdong, China).  He graduated from the Academy of Visual Arts at Hong Kong Baptist University, with a BA in Visual Arts in 2012, and the Bauhaus-Universität in Weimar, Germany, with an MFA in Public Art and  New Artistic Strategies in 2016. Influenced by personal events, social issues and global phenomena, he employs a wide range of media, including performance, public art, video, installation and multimedia, to discuss and interpret issues related to public sphere and human rights, collectivism and individualism, diaspora, war and politics of time and space, transforming the tensions, intervention and interactions of human bodies into a microcosm of human relationality in social systems.

 

 

108展間/R108

咖容琳娜・布瑞秋拉 Karolina Breguła

咖容琳娜・布瑞秋拉的創作形式涉及電影、攝影與裝置,討論作品狀態的問題和藝術品的物質性及其在機構中的功能性,探索藝術的社會角色問題時,也試圖回應關於藝術的迷思,近年多採用參與式的手法進行創作。布瑞秋拉曾在波蘭華沙扎切塔國家美術館、美國紐約的猶太博物館及威尼斯雙年展中展出,亦曾獲德國銀行「2013觀點獎」及2017年波蘭格丁尼亞電影節首獎,近年常往來於臺灣和波蘭之間,進行跨領域創作及學術工作。

 

Karolina Breguła works in the fields of film, photography and installation. Her work explores the problems of the status of the artwork, the materiality of art objects and their functioning within the institutional frameworks.  She explores the problematic of the social role of art and the myths that revolve around it. In her recent practice she often uses participatory methods. Her works have been exhibited at institutions such as Zachęta National Gallery of Art in Warsaw,Jewish Museum in New York, and International Venice Biennale, She received Views 2013- Deutsche Bank Award and Golden Claw Award at Gdynia Film Festival in 2017.  In recent years she has been working in Taiwan and Poland,  engaging in interdisciplinary artistic and academic practices.

作品介紹 About the Artworks

入口形象區

江忠倫 

《無人樂隊#當代館》Nobody Band #MOCA Taipei

 

表演、錄像裝置 Performance, Video Installation

尺寸因空間而異 Dimensions Variable

2019年 2019

國家有國歌,學校有校歌。那麼美術館呢?

錄像裝置作品《無人樂隊#當代館》,分為兩段輪播。第一段影像是藝術家錄製了台北當代藝術館藝術行政工作的庶務日常;第二段是展覽開幕式的表演現場。江忠倫邀請台北當代藝術館三位館員共同創作,館員根據自身的工作常態,書寫填詞、「萬德男孩」協力譜曲,於開幕式現場由填詞人發表演出,江忠倫進行實況錄製,並將這段實境表演無剪輯地匯入《無人樂隊#當代館》作品中。同時,此作於展覽期間亦開放互動,觀眾可自由加入歡唱的「無人樂隊」。

藝術家試圖揭示文化展演機構的完備展出,其幕後團隊的想法與共識,如同整合各個碎片的社會切面,但他們的聲音卻隱沒於體制之中。江忠倫汲取美術館的日常,以及展覽機制的開幕式表演作為創作內涵,顛覆與反噬地讓不曾進入大眾視角的身影與聲音,反轉為藝術作品的主體。

 

Entrance Hall

Chiang Chung-Lun

Nobody Band #MOCA Taipei

A nation has its national anthem. A school has its school anthem. How about an art museum?

The video installation, entitled Nobody Band #MOCA Taipei, comprises of two parts that are showed in turn. The first part of the video shows the recordings by the artist on the everyday administrative work taking place at the Museum of Contemporary Art, Taipei; and the second part is the recordings of three performances given at the exhibition opening. Chiang invites three members of the museum staff to co-create the work by writing lyrics based on their respective work life. Wonder Boyz then composes the music for the lyrics to finalize the songs, which are performed by the ‟lyricists”  at the opening reception and recorded by the artist. The performance documentation is  then combined into Nobody Band #MOCA Taipei without any editing. Meanwhile, during the exhibition, the video work also becomes interactive in the sense that visitors can join to sing along with Nobody Band.

Through this work, the artist reveals the fact that a thoroughly prepared exhibition in a cultural institution, like integrating different social aspects, requires team efforts to present various ideas and consensuses; however, the voices of the team behind the exhibition are often submerged in the system. Chiang invites the members of the museum staff to work together in the project. While taking the everyday work in the museum and converting the opening performance, the work subversively and counteractively spotlight the figures and voices, which are usually hidden from the public; and by doing so, he reverts the subjectivity of the artwork.

 

 

105展間

王虹凱 

《甜小調練習》Sweet Minor Keys

 

工作坊、表演、多媒體裝置 Workshop, Performance, Multimedia Installation

尺寸因空間而異 Dimensions Variable

2019年-進行中  2019-present

雙頻道錄像裝置《甜小調練習》為一長期研究取向的項目,其時空脈絡橫跨日治與二戰後的臺南總爺糖廠(於1974年更名為麻豆糖廠)。時年,糖廠職員及樂團團員的李德樹,對當代作家黃微芬口述他的音樂記憶地圖,為此藝術家回訪了李德樹憶述當年樂團生成的過程,並追溯樂團演奏地點與地方之間的關係。

《甜小調練習》,即以此記憶地圖為藍本,從糖廠勞動經濟所輻奏出來的地理空間,探究穿越這些空間內與外,所交織而成的音樂社會生活史。透過與曾文家商的學生,以一系列「音樂生成」(musicking) 工作坊,重回現場與重回聆聽,經由記憶地圖移動錄音設備與過程紀錄,試圖顯化一個動態網絡的聲音,從臺南總爺中山堂、麻豆國小、麻豆中央市場、總爺藝文中心、麻豆代天府到興華街的閒置空地,展開六段練習。從不同的空間、學生們的想像與未經訓練的聲音、日常舞蹈,於彼此交錯互動之間進行多樣的「聲響聚集」實驗,尋找和編創公共場域裡的可能性,或許某種模糊的、未知的政治和學習形式將由此浮現。

 

R105

Hong-Kai Wang

Sweet Minor Keys

Sweet Minor Keys is a long-term research-based project that transects the time-space germinated by the Japanese-colonial and post-WWII sugar industrial economy in Taiwan. It seeks to probe a particular socio-sonic space interwoven by those who live and lived inside and outside of this space.The first research phase takes the musical trajectory of Li Te-Shu as he told the writer Huang Wei-Fen, a 90-year-old former Madou Sugar Factory worker who was a member of the factory’s orchestra, as a map.

In collaboration with a group of Tseng-Wen Senior Home Economic & Commercial Vocational High School students in Madou, a series of extracurricular “acoustic assembly” experiments are convened at the Madou Elementary School’s music hall, Daitian Temple, Central Market, the now defunct sugar factory’s auditorium, and Hsing-Hua Street – all of which are locations derived from Li’s musical map. At each publicly accessible site, the students imagine and test possibilities of “sonic unschooling.” In cooperatively concocting “an everyday choreography of the possible,” participants grasp toward an obscure, yet to be articulated form of the political – an emergent sociality.

 

 

1樓 走廊

奈鳩・布朗 

《聲響象徵:建成國中鐘樓》 Sounding Symbol: Jian Cheng Junior High School Bell Tower

 

錄像、聲音、物件裝置  Video, Sound, Object Installation

尺寸因空間而異  Dimensions Variable

2019年  2019

台北當代藝術館的鐘樓佇立在這座日治時期所建的校舍中心位置,以靜默之姿見證其彰顯的社會秩序、嚴守時間的美德及學生們的服從;依循鐘樓方向往後方延伸,則是回應當代館這座歷史建築象徵意涵的現代建物—建成國中那座更為高聳的鐘樓;再依此軸線往臺北市的北邊推進,則可見陽明山的最高峰。

建成國中的鐘樓建於九零年代,內有十二口銅鐘,然而鐘內沒有安置鐘錘,故銅鐘也只能沉默的懸掛在塔內;雖然擴音器播放的合成鐘聲早已取代這些銅鐘原初的功能,它們依舊帶有某種潛在的力量,超越自身原本被創造來呼喚學生返回課堂的責任,即數千年來,鐘所扮演的儀式性角色—它們傳遞訊息的溝通功能。

藝術家與學生合作,在十六枝鐘槌的握把纒繞上個人訊息,象徵性的透過鐘聲的音波振動傳向遠方,學生們用塔中所能接觸到的八口鐘,二次「敲響」銅鐘,以行動將原本代表當權者的象徵,轉化為學生欲求、恐懼與反思之載體,以「鐘聲」觸及校園、跨越家庭、深入城市,最後抵達陽明山群峰。

 

1F Hallway

Nigel Brown

Sounding Symbol: Jian Cheng Junior High School Bell Tower

Rising from the centre of the Japanese colonial era school building, the bell tower at MOCA Taipei stands as a silent testament to the social order, punctuality and obedience expected of the students. Tracing a direct line behind, we arrive at a contemporary echo of the historic building’s symbolism: the much taller clock tower of Jian Cheng Junior High School. Continue following that line, and you eventually arrive at the highest peak of Yangmingshan in the north of Taipei.

Built in the 90s, the current school’s tower houses twelve large bronze bells. Having never been fitted with clappers, they too hang in silence. Rendered functionally obsolete by speakers playing synthesised bells, the bronze bells carry a potential beyond the mundane task of summoning students to class: a kind of communication that connects to ritual uses of bells over thousands of years.

Nigel worked with students to bind the handles of sixteen mallets with personal messages to be carried on the bells’ vibrations, Two ‘soundings’ were undertaken with students striking the eight accessible bells in the tower. The symbol of authority became a vehicle for the desires, fears, and reflections of the students: reaching through the school community, across family, deep into the city and to the peaks of Yangmingshan.


 

 

106展間

楊嘉輝

《消音狀況#2:消音舞獅》 Muted Situation #2 Muted Lion Dance

 

單頻道錄像、彩色、有聲  Single channel video, Colored, Sound

7分21秒  7min. 21sec.

2014  2014

© Samson Young. Image courtesy the artist. Photo Credit: Dennis Man Wing Leung. Courtesy of Edouard Malingue Gallery

 

《消音狀況#7:消音拳擊比賽》Muted Situation #7 Muted Boxing Match

 

燈箱、聲音、頭戴耳機 Light box, Sound, Headphone

86 x 127 x 14 cm, 11分 48秒   86 x 127 x 14 cm, 11min. 48sec.

2014年  2014

© Samson Young. Image courtesy: The Smithsonian. Photo Credit:Courtesy of the Collection of Antonio Kwong.

單頻道錄像作品《消音狀況#2:消音舞獅》,舞者在沒有主聲調打擊樂的伴奏中,完成舞獅的表演,而服裝飾樣的流散與編舞的碰撞、表演者的強烈呼吸、舞者之間的口頭交流與暗示以及足下踩踏的聲音等其它聲音,卻完整地被保留與揭示出來。另一件聲音裝置《消音狀況#7:消音拳擊比賽》,音景中觀眾為拳擊手大聲喝采的歡呼聲,以及評論員的實況解說,這些聲音皆有意的被削弱與壓制;而賽事場域中的其它聲音如:拳擊手套擊打在對手身體上的聲音、評論員經麥克風和擴音器放大播音傳回話筒的回聲、拳擊手環場步移的腳步聲,以及急促的呼吸和觀眾激動集體揮舞拳頭的肢體聲等,卻一一地被吸納而保留下來。

藝術家將不同的聲音層次先行設置,有意識地讓某些特定情境、處於前景或立於主導統馭的聲音受其抑制,使其它音層因此被顯化,意圖使人們以更開放的思維對聲音進行探索與體驗,重新去聆聽被忽略的聲音。消音不意味著無作為或什麼都不做,減弱的指向使聲音的再想像與重新建造成為可能,從中去發現未被關注或身處邊緣位置的聲音,以揭示一種關於「傾聽」與「發聲」的對話。同時兩件作品的對應,觀眾被迫重新想像「觀看」舞蹈與表演的「聽覺」體驗。

 

R106

Samson Young

Muted Situation #2 Muted Lion Dance

Muted Situation #7 Muted Boxing Match

In the single-channel video, entitled Muted Situation #2 Muted Lion Dance, dancers perform the lion dance without the percussion music that usually accompany these dances. On the other hand, the movement of the costume and impacts taken place in the choreography, together with the dancers’loud breathing, their verbal communication and cues as well as sounds of their stomping  feet, are all fully preserved and disclosed. In another sound installation, entitled Muted Situation #7 Muted Boxing Match, the crowd’s cheers for the boxers and the commentaries of the live match in the soundscape are all intentionally weakened and suppressed, whereas other sounds in the site of the match are recorded and kept, including the sounds of the boxertume and impacts taken place in the choreography, together with thee picked up by the microphone again, sounds of the boxer’s footsteps, their panting breathes and sounds of the crowd’s waving fists.

By prioritizing different sound layers, the artist consciously suppresses certain dominating sounds of specific scenarios from the foreground to highlight other sound layers, enabling audiences to explore and experience sounds with an open mind and to hear sounds that have been previously ignored. Sound reduction does not necessarily mean inaction or doing nothing at all. Yet, reduced directionality allows one to re-envision and re-establish sounds, through which one can rediscover unnoticed sounds or sounds from a peripheral position, revealing a dialogue between “listening” and “making sounds.” The corresponding relation between these two works engages the audience to re-imagine the “auditory” experience of “viewing” dances and performances.

 

 

107展間/R107

莊偉  Isaac Chong Wai

《位於未來的聲音》One Sound of the Futures

 

行為表演、錄像   Performance, Video

尺寸因空間而異 Dimensions Variable

2016, 2019年  2016, 2019

《位於未來的聲音》為一系列參與式的行為表演,作品以三頻道與單頻道錄像分為兩階段展出。第一階段為莊偉於2016年在亞洲—香港(啟德跑道公園)、光州(5.18民主廣場)與武漢(K11藝術村)三個城市的公眾場域,召集當地百位民眾參與並以矩陣的形制排列,同時邀請他們同步訴說個人的未來,錄像作品在展覽開幕當天以三頻道同步播映。第二階段於展覽開幕次日,莊偉在臺北「自由廣場」進行未來之聲的行為表演,之後並將實況結合香港、光州、武漢的系列作品,以單頻道錄像輪播的方式展出。

透過共同創作《位於未來的聲音》,每位參加者皆化身為作品的一部分,此行為表演的形式,隱喻了城市中公共場域裡的景觀雕塑,藝術家以當代藝術觀念的旨向,摒棄創造威權式、永久性的紀念碑,轉由讓大眾訴說位於未來的歷史記憶。此作,以數百人扮演會說話的雕塑,使同處於世界政治情境不確定性的城市,在同一時空狹縫中,一同發聲,交織出一曲對將來願景的和弦。

 

R107

Isaac Chong Wai

One Sound of the Futures

One Sound of the Futures comprises of a series of participatory performances shown in two stages in the exhibition—the first shown as a three-channel video, and the second as a single-channel video. The first stage shows the performance conducted in public sites in three Asian cities in 2016, including Hong Kong (Kai Tak Runway Park), Gwangju (May 18 Democracy Square) and Wuhan (K11 Art Village). The artist gathered hundreds of participants and invited them to line up a stringent formation while the participants talk about their future. On the opening day of the exhibition, the video is shown as a three-channel video to symbolize how the three cities have “spoken up” at the same time in Asian history. The day after the opening, the artist will give a performance at Liberty Square in Taipei, which he will incorporate later into the video showing performances of the other three cities, forming one video work displayed as a single-channel video.

By collectively shaping One Sound of the Futures, every participant becomes part of the work. With the form of the performance serving as a metaphor monuments in public sites, the artist employs the conceptual purport of contemporary art to give the public a chance to talk about historical memories of the future instead of creating an authoritarian, permanent monument. The work transforms hundreds of participants into standing, speaking sculptures and enables people in a time with uncertain political scenes to express their different voices in a stringent form at the same time, interweaving diverse times and voices into an ultimate, intangible moment resounded in a spoken yet indefinable noise that speaks about individual visions of the future.

 

 

108展間

咖容琳娜・布瑞秋拉  

《噪音樂器》Instruments  for Making Noise

 

單頻道錄像、裝置Single Channel Video, Installation

尺寸因空間而異 Dimensions Variable

2016,2019年  2016,2019

《噪音樂器》是一件由物件及錄像所構成的作品,桌面上展示的樂器皆是藝術家以台北當代藝術館先前展覽遺留的剩餘物,包含剩餘之展牆所製作、轉換成的小型樂器物件,並放置在過去展覽所遺留下來的展示桌上。這些物件以政治活動工具的形態回返展覽空間,在本展中雖然是展示的藝術作品,卻可被觀眾借用,將其帶出當代館,用於政治抗爭活動。

一同展出的單頻道錄像作品呈現實驗噪音創作者黃大旺的即興表演,這場在臺北街頭所發生的短暫噪音演出,以藝術角度詮釋政治活動之聲。

 

R108

Karolina Breguła

Instruments  for Making Noise

This work consists of objects and a video. The instruments displayed on the table are made of remnants from previous exhibitionat the MOCA Taipei. Pieces of unneeded temporary walls are transformed into small musical objects by the artist and return to the gallery in the form of tools for political activity. Also,the instruments are displayed on the table left over from the previous exhibition. Exhibited in the gallery, they take the form of art objects; however, the audience can turn them into tools for political engagement by renting and taking them out of the museum to use them in political demonstrations.

The single channel video shows the documentation of an improvised performance by experimental noise artist Dawang Huang. Performed in the streets of Taipei, Dawang’s short concert is an artistic interpretation of the sounds of the political manifestation.

 

 

相關教育活動 Educational Programs

【系列講座】
 
「聲音」在個體與群體間的社會性、文化性和能動性為何?透過音樂的聆聽,記憶如何被重新建構與組合?邀請策展人、參展藝術家和專家學者,以各自關注的焦點和視野展開對話,從策展理念、藝術創作到學術研究,關於聲音和音樂創作的各種面向,無所不談!
 
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● 反聲性:聆聽與造音 ►我要報名
 
時 間|04/28(日) 14:00-16:30
主持人|賴依欣/「超音樂.異聲驅動」策展人
與談人|許馨文/國立臺灣師範大學民族音樂研究所助理教授
參展藝術家|王虹凱、莊偉、楊嘉輝
 
 
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張鐵志音樂與文化評論作家、《新活水》總編輯

 

【策展人導覽】
 
邀請策展人現身說法,透過多向度的思維,引領觀眾從不同的角度閱讀作品,深入了解參展藝術家關注的議題與個人創作特質。
 
時  間|週日14:00-15:30
集合地點|當代館一樓活動大廳
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場次
 
05月12日賴依欣「超音樂.異聲驅動」策展人
06月02日方序中「查無此人-小花計畫展」策展人
 

 

【藝術家工作坊】造音/噪音─樂器製作坊 (親子限定)我要報名
 
你對於樂器的想像是什麼?對於參與公民運動的想法是什麼?如何透過樂器表達自己內心的想法與訴求?大手牽小手,有話大聲說,翻轉對樂器的想像與侷限,藝術發聲運動即將開始!
 
時 間|2019/05/11(六) 14:00-17:00
藝術家|咖容琳娜‧布瑞秋拉Karolina Breguła/「超音樂.異聲驅動」參展藝術家
對 象|8歲以上之親子觀眾(二人一組,一大一小)
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