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Tuesday 星期二

10AM - 6PM

Exhibition

展覽

  • 10:0018:00

    超音樂・異聲驅動

    Living Sound—Expanding the Extramusical

  • 10:0018:00

    查無此人─小花計畫展

    Where Have All The Flowers Gone -- These Flowers. Musical Memory & Art Exhibition

  • 10:0018:00

    MOCA Studio

    天台─朱駿騰個展

    Rooftop─Chu ChunTeng Solo Exhibition

  • 10:0018:00

    MOCA Cube

    老虎的翅膀—金工創作展

    Wings of the Tiger

  • 10:0021:00

    「旅人風景─臺北日常」南港老爺行旅開幕展

    “Taipei Everyday: A Traveler's Perspective” In-Situ Art Exhibition @ The Place Taipei

超音樂・異聲驅動

Living Sound—Expanding the Extramusical

2019 / 04 / 27 Sat.

2019 / 07 / 07 Sun.

10:00 - 18:00

展覽介紹

沒有什麼是出界的。用德里達來解釋,沒有額外的音樂。 (Kim-Cohen, In the Blink of an Ear: Toward Non-Cochlear Sonic Art. pp.107) 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作為其主體性的組成。此次展覽藉試圖提出幾個層面的思考,並藉由作品有更近一步的討論。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,回溯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・布朗在此次的計畫中,則針對台北當代館和建成國中的場域特質,邀請學生共同敲響已失去功能的校鐘,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招喚。 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和聲音殘渣,並藉由作品對聲音的反白與顯現,進而重新理解和想像那些被遺落的碎片。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與主體位置。 Nothing is out of bounds. To paraphrase Derrida, there is no extra-music. (Kim-Cohen, In the Blink of an Ear: Toward Non-Cochlear Sonic Art. pp.107) 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 Soundeech make up evExtramusical 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 whilere- exploring the creative and receptive space of sound and speech as well as their subjective positions.

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參展藝術家

Chiang Chung-Lun 江忠倫
Hong-Kai Wang 王虹凱
Nigel Brown 奈鳩・布朗
Samson Young 楊嘉輝
Isaac Chong Wai 莊偉
Karolina Breguła 咖容琳娜・布瑞秋拉

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.

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.

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.

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.

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.

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

Nobody Band #MOCA Taipei 《無人樂隊#當代館》
Sweet Minor Keys 《甜小調練習》
Sounding Symbol: Jian Cheng Junior High School Bell Tower 《聲響象徵:建成國中鐘樓》
Muted Situation #2 Muted Lion Dance 《消音狀況#2:消音舞獅》
Muted Situation #7 Muted Boxing Match 《消音狀況#7:消音拳擊比賽》
One Sound of the Futures 《位於未來的聲音》
Instruments for Making Noise 《噪音樂器》
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相關活動

活動名稱

活動地點

活動時間

  • 自由廣場(臺北市中山南路21號,捷運中正紀念堂站)

    2019/04/27 Sat.

    14:00 - 16:00

  • 台北當代藝術館 一樓活動大廳

    2019/04/28 Sun.

    14:00 - 16:30

  • 台北當代藝術館 一樓活動大廳

    2019/05/03 Fri.

    14:00 - 16:30

  • 當代館一樓好玩藝教室或戶外廣場(視天候狀況而定)

    2019/05/11 Sat.

    14:00 - 17:00

  • 台北當代藝術館 一樓活動大廳

    2019/05/12 Sun.

    14:00 - 15:30

  • 台北當代藝術館一樓活動大廳

    2019/05/18 Sat.

    10:30 - 12:00

  • 台北當代藝術館一樓活動大廳

    2019/05/23 Thu.

    10:30 - 12:00

  • 台北當代藝術館 一樓活動大廳

    2019/06/01 Sat.

    14:00 - 16:00

  • 台北當代藝術館一樓活動大廳

    2019/06/25 Tue.

    10:30 - 12:00

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18、台北當代藝術館賦予你在任何時候修改個人台北當代藝術館帳號資料及偏好設定的權力,包括接受台北當代藝術館通知你特別活動或新產品的決定權。