Events, Exhibitions, Feature, News, Screening, Talks

2017.12.29 – 2018.02.25 So Far, So Right: A Study of Reforms and Transitions Across Borders走私:一個越境的生命經濟學

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走私:一個越境的生命經濟學

參展藝術家:亞歷山德拉.多曼諾維奇、陳思含、大衛.馬爾加克維奇、科斯塔.托尼夫、盧切札.博亞杰夫、黃榮法、阮芳伶、附錄、許家禎、阮陳烏達、吳其育、茲比涅克.巴拉德
策展人:方彥翔
展期:2017.12.29 (Fri.) – 2018.02.25 (Sun.)
地點:國立臺北藝術大學 關渡美術館 一樓展廳
開幕:2017.12.29 (Fri.) 5 pm

座談:2017.12.30 (Sat.) 2 pm、2018.01.27 (Sat.) 2 pm 台北當代藝術中心
放映場:2018.01.13 (Sat.) 3 pm、2018.01.22 (Sat.) 3 pm  台北當代藝術中心  

隨著冷戰後世界權力版圖的重新位移,今日新的全球治理之敘事方案正在重新升起;以「新框架」為名由新興權力體所想像鋪設,它透過跨國創投結盟、資源與物流系統的重建,以及對資訊科技等新治理技術的吸納掌握,新的治理性力量以更佳的效率跨越國界、進入生命治理的內部縱深。

《走私》計畫的想像在於形變以及滲染此給定的全球治理框架界線。計畫起始於考察與描繪兩段後共產軸線的蛻變、連結與張力關係,嘗試於其歷史及未來想像上提出一種再纏繞的方法,啟動另一則新的生命敘事方案。

以分處於昔日社會主義陣營兩側的政治地理軸線作為背景線索,從過去經濟互助委員會的經貿勞動同盟,陸續由共產體制片面或全面性轉換至市場體制,至今日作為全球體系中新興經濟體的角色;探討在其政經轉型中內部面對市場化、民主化、國族認同建構等課題之變化與矛盾,以及外部面對所屬區域政治經濟聯盟與強權間之牽動糾結,其中個體或群體及社會性的潛流與動態。

借助離散與越境經驗的表述與美學化,描繪一個概念或狀態上的特殊邊界之穿行與擾動,我們意圖捕捉書寫一種往返的連結史,一種跨越國家計劃經濟與全面市場、技術化之治理性編程的生命史。在外部遶境中——無論是對斷層線的縫合,或是一個外部纏鬥的力量——我們看見一種對國家權力框架和資本生命部署的外溢,進行著對生命經濟化治理的抵抗。

本展覽計劃為國家文化藝術基金會視覺藝術策展專案所贊助

主辦單位:台北當代藝術中心
協辦單位:國立臺北藝術大學 關渡美術館
贊助單位:國家文化藝術基金會、台北市文化局、財團法人RC文化藝術基金會
媒體合作:數位荒原
特別感謝:Nhà Sàn Collective、亞洲當代藝術空間、Metro Pictures、Galerie Jocelyn Wolff


So Far, So Right: A Study of Reforms and Transitions Across Borders

Artists: Aleksandra Domanović, Chen Szu-Han, David Maljković, Kosta Tonev, Luchezar Boyadjiev, Morgan Wong, Phương Linh Nguyen, Phụ Lục (The Appendix), Syu Jia Jhen, UuDam Tran Nguyen, Wu Chi-Yu, Zbyněk Baladrán
Curator: Fang Yen Hsiang
Date: 2017.12.29 (Fri.) – 2018.02.25 (Sun.)
Venue: 1F, Kuandu Museum of Fine Arts, TNUA
Reception: 2017.12.29 (Fri.) 5:00p.m.

Artist Talk: 2017.12.30 (Sat.) 2 pm, 2018.01.27 (Sat.) 2 pm, Taipei Contemporary Art Center
Screening: 2018.01.13 (Sat.) 3 pm, 01.22 (Sat.) 3 pm, Taipei Contemporary Art Center 

Since the balance of power shifted after the Cold War, a new proposal for global governance has been in the making. In the name of a new framework, this proposal is conceived by emerging great powers, where the alliance of startups across countries, the reconstruction of transnational resources and logistics systems, as well as the acquisition of new management technologies such as information technology, together allow the new governing powers to transcend borders and enter the realm of biopolitics all the more efficiently.

Project So Far, So Right is based on the concept of deforming and how it osmoses into the given framework of global governance. The project unfolds from the investigation and delineation of two post-communist narratives as well as their metamorphoses, interweaving relations, and tensions, proposing a possible method to re-entangle their histories and imagined futures, thus launching a new life story.

Set against the backdrop of two former socialist blocs and their political geography in the past, the project delves into the history of the trade and labor alliance of the Council for Mutual Economic Assistance, the gradual process of the communist system partially or entirely transitioning into the market system, and how these countries transform into emerging economies on a global scale. The project also investigates the transmutations and contradictions in the ways marketization, democratization, and the construction of national identity confront these regions during their political and economic transition, as well as how they grapple with the regional political and economic alliance of which it is part, the delicate relations between great powers, and the undercurrents and volatile states of the individual, the collective, and society.

Through the manifestation and aestheticization of diaspora and cross-border experiences, portraying a unique state of passing through and interfering with conceptual or physical borders, this project attempts to trace a back-and-forth history of connection, a biohistory that transcends the governance of national planned economy and all-encompassing marketization and technologization. As we examine the biohistory from an external vantage point — whether it’s the bridging of political fault lines, or the tenacious force that resists and wrestles outside the system — we witness an opposition to the framework of national power and capitalist deployment, defying the governing force of the economization of life.

The project So Far, So Right is sponsored by the Production Grants to Independent Curators in Visual Arts of National Culture and Arts Foundation of Taiwan

Organizer: Taipei Contemporary Art Center
Co-Organizer: Kuandu Museum of Fine Arts, TNUA
Sponsors: National Culture and Arts Foundation; Department of Cultural Affairs, Taipei City Government; RC Culture and Arts Foundation
Media Partner: No Man’s Land
Special Thanks: Nhà Sàn Collective, A+ Contemporary, Metro Pictures, Galerie Jocelyn Wolff

廣告
Events, Feature, News, Performance, workshop

2017.12.23 Future Tao 未來道人

For English, please scroll down.

未來道人

當代修行的身心技術之探
一場太極、武術、聲音的實驗碰撞與表演

時間:2017年12月23日(六),15:00-20:30
地點:臺北市立美術館廣場
藝術家:林亭君、張欣、鄧雯馨、DINO

臺北市立美術館主辦
台北當代藝術中心策劃

來自未來的回眸一問:修行是否有一種具時代意義的實踐與樣貌?現下的身體技術與感知結構及方式是否隨著我們的科技生活有所變革,而產生新的樣貌去投射未來呢?我們要如何透過認識新的感知以應和一種當代身心靈所追求的智慧與調和?

這個提問既出於一種亙古的探求——對於心靈與人性的認識和表達,同時也出於對當下環境與個體聯繫的自我省思。科技生活高速發展之際,我們的身體是否也在新的社會環境條件下,對於自然的力量、神秘與宗教,乃至於機械文明也產生了一套不同以往的應對和想像?隨著數據整合雲端運算生產的人工智慧已經大舉入侵了我們的生活,逐漸代替我們反應與溝通,究竟媒體、機械與人體之間如何展開彼此新的觀看與修練?

《未來道人》邀請藝術家進行一場當代修行的表述,結合了太極、武術、視覺與聲響實驗的一場表演。其延伸《庇護所》之休養生息,並嘗試轉進未來的意象,將帶領觀眾參透時空疆界,以新的節奏、能量與共鳴進入新的修行運動方式和想像。

節目

3-5pm   互動參與(報名制活動:3C形意拳、群眾數據瀑布)
藝術家:林亭君
報名連結:https://goo.gl/XVkobh

7-8:30pm 聲音表演
藝術家:鄧雯馨、張欣、Dino

藝術家簡介

林亭君
lololol藝術組織共同創辦人,使用多媒體、錄像、文字及行為進行創作,作品關心科技對於當代生活和身體感知的影響。作品曾於Homeostasis Lab – The Wrong: 新媒體藝術雙年展、韓國濟州國立美術館、Temporal藝術節展出。近來開始將其個人的太極武術練習與藝術創作建立對話聯繫,2017年藝術計畫《3C 形意拳》於台北當代藝術中心發展呈現,並在台南聽說、台北牯嶺街小劇場等地演出。

鄧雯馨
國立台灣藝術大學新媒體藝術所畢業,身兼新媒體藝術家、數位藝術表演者、VJ、台灣獨立樂團逆風少女主唱等多重身份。2017年起,以「幽谷響」自稱,轉以個人音樂與影像實驗,音像藝術創作。
擅長的創作媒材為數位聲響、電子合成音樂、錄像及錄像裝置,嘗試運用音樂與視覺實驗詮釋科技與生命。創作關注科技與人的關係,所產生的焦慮之精神狀態,並試圖以身體,探討靈魂及數位抽象自我的呈現。2016年其導演及聲音設計作品《火炬下的囚犯》,獲第七屆數位藝術表演獎首獎。以聲音、影像結合身體之臨場藝術表現,演出及參展經歷遍佈於台灣、法國、中國、土耳其、英國、波蘭等各音樂節、藝術節及藝術博覽會。

張欣
生長於台北、紐約、北京,熱衷於物質性的實驗創作。透過聲音、空間、和表演去掌握一種對生命的物質性理解。張欣的創作啟蒙於聲樂和抽象畫的成長背景,至今她的創作仍回應多重元素的互相渲染以形成一種能量的流動性場域。目前進行中的《生命種植》計畫藉由植物和人的聲響交流去試圖理解驅動自然生命的力量。
張欣作品曾發表於台北失聲祭、台北當代藝術中心、滲透影像藝術節、JOLT 聲響藝術節、耳蝸國際實驗音樂藝術節、上海新時線媒體藝術中心、濟州美術館。她的表演「內陸」於2013獲得義大利拉古納國際藝術獎-表演提名。

DINO / 廖銘和
居於台北,製作古琴,從事噪音表演。臺灣90年代噪音第二波代表人物,曾為知名團體「夾子」樂隊成員。他的創作標識著九零年代後半期臺北噪音運動在技術上走向純類比電子,在內涵上建立獨立美學之里程碑。Dino 的電子聲響來自於極簡的模擬器材,利用線路雜音、靜電或麥克風回饋建立迴圈回路,在無音源的狀況下創造「再生音樂」於聲音的有無之間自在穿梭,其聲響表現細膩而不羈,同時作為一種冥想、一種修練,一種無礙的動與靜。
近年來Dino 參與實驗電影、小劇場現場配樂製作,曾獲臺北電影節最佳音效獎。Dino 對於英倫龐克文化及中國古典文化研究著力甚深,這些影響當可見於其創作乃至於生活實踐之中。

 

Future Tao

An experimental performance with Tai Chi, martial art and sound
Exploring contemporary technology for body and mind practice

Time: 2017.12.23, 15:00-20:30
Venue: TFAM Plaza
Artists: Xia Lin, Teng Wen-Hsin, Sheryl Cheung, DINO

Organized by Taipei Fine Arts Museum
Curated by Taipei Contemporary Art Center

A gaze from the future asks, “Is there any reference to time in spiritual and bodily practice?” How has modern technology informed and influenced our body technology and sensory structure, generating different ideas for the future? How can we exercise a new kind of body sensibility in our pursuit of wisdom and balance based on our contemporary body and mind?

Such question is not only timeless, but also deeply connects to the understanding and expression of humanity and reflection on our individual relationship with the contemporary surroundings. Have our body adapted the speedy technology and social condition to develop different correspondence and imagination for the power of nature, mysticism, religion as well as artificial intelligence? Artificial intelligence resulting from the influx of Big Data and cloud computing has greatly occupied our everyday life, taking over our reaction and communication capability, and thus new ways of perceiving and how to practice among media, machine and human should be contemplated.

Future Tao invites artists to express their contemporary life and artistic practice. A series of performance will be staged featuring Tai Chi, martial art, VJ and experimental sound, inviting you to groove with new beats and energy and develop new motion, exercise and imagination on a journey without horizon.

[detailed event info]

3-5pm Participatory Events: 3C Xing Yi Quan and Collective Data Fall by Xia Lin
Register: https://goo.gl/XVkobh

7-8:30pm Sound Performance
by Teng Wen-Hsin, Sheryl Cheung, DINO

About the Artists

Xia Lin is the co-founder and artist of lololol.net. Lin employs multimedia, video, text and performance for her artistic practice which concerns the interaction between technology and body in our modern life. She participated in The Wrong – New Digital Art Biennale by Homeostasis Lab, and showed in Jeju Nation Museum of Art and Temporal Art Festival. Lin has recently built new conversations between her Tai Chi exercise and artistic practice. She has developed and shown her latest project 3C Xing Yi Quan in Taipei Contemporary Art Centre, and performed in Ting Shuo Hear Say and Guling Street Avant-Garde Theatre this year (2017).

Teng Wen-Hsin holds a MFA in New Media Art from National Taiwan University of Arts (NTUA), and she is a new media artist, digital art performer, and the lead singer of the indie band ATW Girl. She began staging audio-visual performances as a DJ and VJ under the name YUGU in 2017. 
Teng employs digital sound, electronic music, video and video installation to interpret technology and life via her sound and visual experiments. The anxiety and tension between human and technology has been central to her artistic concern, as she explores ways to express the soul and the digital ego. Her work Prisoners under the Torch (director and sound design) was awarded first prize of the 7th Digital Art Performance in 2016. She has performed and exhibited in many music and art festivals in Taiwan, France, China, Turkey, UK and Poland.

Sheryl Cheung was raised in Taipei, New York, and Beijing. She works between sound, installation, and performance to explore a material concept of life. Her current project uses plants as medium to question the motivations that drive us to innately prosper and persevere. Cheung has a background in abstract painting and choral music, and in her work today she continues to respond to the affects between multiple forces to create a field of energy flow. Her work has been shown internationally, including at Taipei Contemporary Art Center; Chronus Art Center, Shanghai; Osmosis Audiovisual Festival; Lacking Sound Festival; JOLT Arts Festival; and Jeju National Art Museum. Her performance Inland was nominated for Arte Laguna Art Prize in 2013.

Dino (aka Liao Ming-He) is a guqin (an ancient stringed Chinese musical instrument) maker and noise performer based in Taipei. Former bassist of the Clippers Band, he is a seminal figure in the second-wave noise movement in Taiwan during the late 1990s. He uses simple analogue equipment to create electronic sound without any input, which is known as ‘recycle music’ by generating loops from circuitry noise, static, or microphone feedback. Dino’s recent endeavors include experimental films and live music production for the theatre. He was awarded Best Sound Effects in Taipei Film Festival (2003). Dino’s particular fondness for British punk subculture and traditional Chinese classics has influenced both his work and life.

Events, News, Talks, workshop

2017.12.01 Recalling the Future: A Public Dialogue about Forms of Listening by Liquid Architecture 澳洲聲音藝術組織Liquid Architecture 工作坊與座談——回顧未來:聆聽形式的公眾對話

For English, please scroll down.

日期:2017.12.01(五)
地點:台北當代藝術中心(台北市大同區保安街49巷11號,捷運大橋頭站)
藝術家:Danni Zuvela、Andrew McLellan、Jannah Quill、Nathan Gray、陳雋​然、花崎草與鄭宜蘋

工作坊:4-6 pm
藝術家座談:7-8 pm

主辦:Liquid Architecture
協辦:台北當代藝術中心
贊助:City of Melbourne, Creative Victoria, Australia Council for the Arts

本活動將以英文進行,工作坊限額12人。

在一種朝向未來的建構之中,記憶與期望同等重要。當我們參與了不論是政治、社交、工業、個人或公眾上的變革力量,所要面臨的挑戰是,在回憶與連結過往經驗時,要如何政治化我們的想像。我們在這回返的過程中設計一個(被欲望的)未來場景置入當下,並決定如何計量是否得以通達這個特定的未來。對大多數的我們來說,三十年就是一個可以想像的時間最大邊界。朝向未來的建構工程假定我們有能力記憶或想像三十年前的事物。而我們如何在社交聲響中聆聽對方、加深彼此的認識,同時也留下給未知空間呢?

液態建築的藝術家將在工作坊中探尋設計方法學的各樣可能性,來促發具有生產意義的一種反向思維,一種分享的聆聽經驗來體驗反思考、反學習、反認識的一種方法。液態建築的藝術家在此行台灣參訪過程中,將帶領一系列對話性的活動來引導我們對於替代現實、過去與未來的集體想像。

藝術家座談則將談論他們思考當代聲音藝術的方法,以及如何在實驗音樂、表演、講座、與工作坊等節目計畫之中呈現。他們也分享近日在台灣巡演的經驗和他們計劃如何透過與原住民藝術家、非洲未來主義、女性主義與環境思考的藝術參與來開展政治性的聆聽,更進一步討論探索另類聆聽的原因。

關於Liquid Architecture
Liquid Architecture, 液態建築,為澳洲聲音藝術組織。他們自身研究聲音,也相互交流聲音與聽覺的意義。

液態建築的活動以策劃為主要動能,並從方法學上拓展研究、合作與想像,期待在地的回應、困難、辯論與問題,來重新思考媒體與規則。因而在之中探索出聲音世界的新課題。他們的活動提供舞台給聲音實驗、音效感知與系統的批判性回應。他們所舉辦的活動落在實驗音樂與當代藝術的交界,也支持藝術家的生產,包括在藝術、音樂及其他場地的演出、展覽、講座、讀書會、工作坊、錄音等等。

液態建築認為原住民與托雷斯海峽群島人是澳洲的原先擁有者,也認知到人民從未放棄主權。對於他們的祖先、過去、現在與未來,致上我們的敬意。

關於策展人

Danni Zuvela 是一位作家,製作人和策展人。她與 Joel Stern 共同擔任了 Liquid Architecture 的藝術總監。2004 年以來,Danni 與墨爾本策展人 Joel Stern 及來自倫敦藝術家Sally Golding,共同執導了藝術家集體 Otherfilm計畫。於 2013 年,她與黃金海愛的藝術家自營藝廊 The Walls 合作,擔任畫廊的秘書和副主席。學術背景出身的 Danni,擁有研究實驗電影及藝術史的博士學位,並在該領域授課,也發表批判性的文章。出於對女性主義、行動主義以及新詞學的興趣,Danni 以研究主題作為骨幹勾勒了她的策展工作。她以研究為基礎,借鑒學術訓練,並通過聲音與聆聽的實作探索社會問題的興趣,來完成她的策展實踐。

關於藝術家

Andrew McLellan 兼具音樂人、藝術家、播音員等多重身分,而其音樂身分包括以樣本為基礎的電子聲音個人創作《Enderie》,和後龐克四人團體「Cured Pink」。他將語言拆解,把動態作品概念化,用音樂嗨翻墨爾本的液態建築、比利時的 Kraak 音樂節和動聲音、雪梨歌劇院、VIVID 繽紛雪梨燈光音樂節、大紫牛喜劇節、聖傑洛米巷道音樂節、下一波藝術節、日惹國家美術館。透過數家唱片公司發行格式多元的音樂作品,並經常在澳洲地下音樂圈的各種場合演出,同時任職於社區電台。麥克萊倫擔任許多錄音製作和其他藝術家的聲音設計師、作曲家、音訊工程師,參與的作品曾發表於新南威爾斯美術館、2016 年雪梨雙年展、澳洲國立美術館、映像美術館,川口市、金寶鎮藝術中心、Artspace、當代藝術館、當代藝術中心(布里斯本),並曾於倫敦 Oto 咖啡廳、里斯本 Zed De Bois 畫廊、柏林 NK Projekt 聲音藝術中心、華沙 Mozg 音樂廳、墨爾本藝術中心、布里斯本 Metro Arts 藝術中心、雪梨 Firstdraft 藝廊、Serial Space 藝廊、NOW now 音樂節、Vivid 繽紛雪梨燈光音樂節、Sound Summit 聲音峰會音樂節、墨爾本國際爵士音樂節等處演出。目前生活和工作於雪梨。

Jannah Quill現居雪梨和墨爾本,其創作實驗將電氣過程的反應體現於裝置、表演和錄製聲音作品中。在現場表演中,她使用刺耳的日常電器聲響,塑造出充滿脈動、令人陶醉又帶威脅的靜電噪音和音調領域。她的聲響製作方法深受其對舞蹈和派對電音設備的興趣影響,以及將此融合出具實驗性、即興和集體性的音樂。珍娜的音樂和藝術創作時常運用日常數位介面及科技機器,並以此為素材,透過刻意使用消費性數位日常設備,重新詮釋並產生全新經驗。在她手中,太陽能板可以透過現成照明設備產生音頻訊號;筆電的文字語音轉換功能可以變成聲音樣本,進一步製作成techno音樂的低音軌道;而電玩遊戲的程式可以被用來製作解構數位意象的裝置。

Nathan Gray為澳洲藝術家、表演者,現居柏林。其作品以一系列在極簡工作室和環境為主的實驗,探討以物件作為動作的樂譜,並試圖藉由手邊現成物即興創作,在有限的媒材選擇中,透過簡潔、精準和幽默之策略探索各種可能性。
奈森·葛瑞2014年的作品《空間物種》為2014年澳洲變電所[Office1] 當代藝術獎和人氣獎得主,目前收藏於維多利亞國家美術館。他也曾於第19屆雪梨雙年展及2012塔拉沃拉雙年展中演出,其作品《舞蹈樂譜》於2011開放檔案[Office2] 展及2014墨爾本澳洲當代藝術中心中演出,也多次進行單人表演,包含2015年於皇家墨爾本理工大學設計中心演出《在這和我一起》、2014年於墮落烏托邦畫廊(Utopia Slumps)[Office3] 演出《相合的事物》、2012年於西部空間(West Space)演出《理論家訓練營》以及於墮落烏托邦畫廊[Office4] 演出《行動》。

陳雋然作品包含音樂、表演和裝置。生於香港,於雪梨成長,其創作聚焦於誤譯、離散族群、與現代中國社會的全球化效應。她的研究包含真實和複製,探索交易和慾望如何複雜化西方對於原創與挪用的思考方式。仿冒品的製作流通,全球媒體的聲響和意象是其作品常見的主題,藉此將仿冒定位為創造新神話、新價值和與當代商品製造的複雜象徵。鄉愁、遷移與認同,是其裝置作品與流行音樂創作間的共通點。甫發行之首張錄音專輯《間隔們》(筒倉藝術唱片)獲得 FBi 電台、Adelaide 電台、澳洲 RTRFM 電台等推薦,並獲 SMAC 獎年度最佳專輯提名。九月於英國廠牌 Off Out [Office1] 發行的 EP《代碼變換》,為其 techno 音樂計畫之一。陳雋然曾於多地進行現場演出,包含雪梨歌劇院、澳洲當代藝術博物館 [Office2] 、昆士蘭現代藝術館 [Office3] 、新南威爾斯美術館、新舊藝術博物館和冰島電波音樂節。裝置作品曾展出於首稿藝廊 [Office4] 、液態建築、4A 亞洲當代藝術中心、中國隆里國際新媒體藝術節。 

花崎草畢業於東京藝術大学先端芸術表現科研究所 ( MA Tokyo National Univ. of Arts)。她是一名主要從事行為藝術的藝術家, 活躍於高円寺(素人之乱所在地)、下北澤、新宿等年輕人聚集的地帶。作品呈現日本年輕人對於社會、政治與文化議題的批判視角。除藝術場域外,也在日本不同社會議題中活躍現身的花崎草,3.11事件後,積極地投入反核議題。他也將於各地座談會分享「後福島時代」的當代日本的社會運動與青年反抗文化,以及她自己所參與的行動。她自幼在東京生活的不愉快經驗,使她對都市日常生活中種種受到資本主義、理性主義和性別社會社會化之壓迫與治理的潛規則提出質疑。貫穿作品的主題即是藉由提出不同概念和行為,重新定義身體和動作的可能性。

鄭宜蘋又名 Betty Apple,生於 1986 年台灣嘉義。以現場藝術,聲音藝術為創作主軸,跨界於錄像行為,電子樂製作人,DJ。創作觀念從自身生⻑的「後殖⺠」世界挖取題材,擅⻑以聲音與身體為書寫工具,透過寓言式的互文本褻瀆虛幻歷史包袱,虛假的種族與歷史符號,嘗試脫離工業機械文明的控制,解構新世界秩序。近年以提倡現場藝術(Live Art),即興作曲的「陰性聲音」著名,使用身體夾帶著當代工業化的情色娛樂物件,如:跳蛋、內衣褲、刀叉、螢光顏料……等,為現場聲音表演素材。表演過程透過對象徵父權的麥克風吶喊碰撞,使麥克風收其聲音,再透過筆電效果器混製呈現劇烈的數位扭曲噪音。 

Date: 2017.12.01
Venue: Taipei Contemporary Art Center, No. 11, Lane 49, Baoan Street (MRT: Daqiaotao Station)
Artists: Andrew McLellan, Betty Apple, Chun Yi Rainbow Chan, Danni Zuvela, ​Jannah Quill, Kaya Hanasaki and Nathan Gray 

Workshop: 4-6 pm
Artists Talk : 7-8 pm

Organizer: Liquid Architecture
Co-organizer: Taipei Contemporary Art Center
Sponsor: City of Melbourne, Creative Victoria, Australia Council for the Arts

The events would be conducted in English. The workshop is open for 12 participants. 

In a futuring practice, memory and anticipation work side by side. As we engage with the forces of change – political, social, industrial, private or public – the challenge is to politicise our imaginings as we remember and connect with our different pasts. It is in the process of backcasting that we design from a (desired) future scenario to the present day, determining how we measure whether we are heading towards this particular future. For many of us, 30 years is just about the imaginable limit of time; futuring presupposes that if we can remember (or imagine) life 30 years ago, then we can imagine life in 30 years’ time. In the sonic time of social sound, how will we need to listen in order to deepen our understanding of each other, while holding a space for the unknowable?

In this workshop,  Liquid Architecture will explore the possibilities of design methodologies for generating productive unthinking, unlearning and unknowing in shared listening encounters. Reflecting on their experience of touring Taiwan, Liquid Architecture artists will instigate a series of dialogic activities for the collective imagination of alternative realities, past and future.

In this talk, Liquid Architecture would like to share their approach to contemporary sound art, and how this manifests in our programming experimental music, performance, talks and workshops. They will share some of our experiences on our recent tour of Taiwan, and how their projects explore ways of listening politically through artistic engagement with indigenous artists, Afrofuturism, feminism and ecological thinking, and the reasons we are interested in learning to hear differently.

About Liquid Architecture

Liquid Architecture is an Australian organisation for artists working with sound. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

Liquid Architecture is curatorially driven and their methodology embraces research, collaborations and imaginations, and want to echo beyond local conversations, problems, debates and questions, to reverberate across media and disciplines, and so to sound out new discourses about the audible world, and beyond. Their program stages encounters and creates spaces for sonic experience, and critical reflection on sonority and systems of sonic affect. To do this, they host experiences at the intersection of contemporary art and experimental music, supporting artists to produce performances and concerts, exhibitions, talks, reading groups, workshops and recordings in art spaces, music venues and other sites.

Liquid Architecture acknowledges Aboriginal and Torres Strait Islander people as the first owners of this country, and we recognise that sovereignty was never ceded. We pay our respects to their Elders, past, present and emerging.

About the Curator

Danni Zuvela is a writer, producer and curator. She is the Artistic Director of Liquid Architecture,  a role she shares with Joel Stern. Since 2004, Danni has co-directed the artists’ collective OtherFilm (co-founded with Joel Stern [Melbourne] and Sally Golding [London]). In 2013 she joined forces with the Gold Coast-based artist-run gallery The Walls, where she is the Secretary and Deputy. Danni has an academic background, with a research PhD on experimental film and art history, teaching into her field, and publishing critical writing across a range of publications. Danni’s research informs her curatorial work with interests in feminism, activism and neologism(s).Her curatorial practice is research-based, drawing on her academic training and an interest in exploring social questions through sound and listening practice.

About Artists

Andrew Mclellan’​s main monikers include the solo sample-cunk of Enderie, and the 4-piece dumb-dub group Cured Pink. He has realised perforated-language and kinetic works for Melbourne’s Liquid Architecture and the 2014 Next Wave Festival among others. A sound designer/composer/engineer for various recordings and other people’s artworks, his work has appeared or he has performed at London’s Café Oto, Lisbon’s Galeria Zed De Bois, Berlin’s NK Projekt, Warzaw’s Mozg, Jogja National Museum, Sydney Opera House, the Art Gallery of New South Wales, the National Gallery of Australia, the Museum of Contemporary Art, the Institute of Modern Art, Melbourne’s The Arts Centre, Metro Arts, Firstdraft Sydney, Serial Space, Underbelly 2015, St. Jerome’s Laneway Festival 2015, the NOWnow Festival 2015/2017, Vivid Live 2014, Sound Summit 2012/2013, and the Melbourne International Jazz Festival 2011.

Betty Apple aka Cheng Yi-Ping (b.1986, based in Taipei) is a sound artist, electronic composer and DJ, and her practice is mainly in live art, sound art and video. Using sound and body as her artistic approach, the concept of her works is rooted from the postcolonial surrounding she originally comes from. By desecrating the imaginary historical burden and false symbols of race and history with the fictional intercontextuality, Cheng intends to break the control of industrial civilisation and to deconstruct the order of new world.

Chun Yi Rainbow Chan​ is a Sydney-based artist and singer/producer via Hong Kong. A fervent collector of sounds, Rainbow has a penchant for blending saccharine melodies and left-of-centre beats. Since taking out FBi Radio’s Northern Lights Competition in 2011, Rainbow has been building a reputation as one of the most innovative musicians on the scene with her brand of experimental pop. Classically trained in saxophone, piano and choral singing, Rainbow’s fondest musical memories are those of family day trips in a packed car, singing along to mix-tapes sent by her grandmother in Hong Kong. From Chinese folksongs to Western ballads, Grandma’s hodgepodge tapes would have a lasting impression on Rainbow’s music. Rainbow’s lifelong interest in the idea of intersections and hybridity results in a delicious collage of seemingly disparate sounds and cultures. 

Jannah Quill​ is a Sydney-based artist working in electronic installation and performance. Jannah’s work currently deals with exploring and exposing hidden energies and considering the role of electricity in digital construction, and its potential as a performance and art-making tool. Jannah has performed and exhibited as part of Underbelly Arts festival at Cockatoo Island (Sydney), Liquid Architecture (Melbourne), and at The Museum of Contemporary Art (Sydney) as part of the public program accompanying the international exhibition, “Energies: Haines and Hinterding” (2015) among others. 

Kaya Hanasaki is an artist born in Tokyo, who practice responds to contemporary social issues with performance, installation, workshop and several medias. She participated and organized in several performance and unique conceptual groups, such as Homus, XX Freaks Tokyo, Toritama and Chanomad. Please check the each biography for details of the group.

Nathan Gray is a Berlin-based Australian artist and performer. Unfolding from a series of succinct studio and site-based experiments, Nathan Gray’s work approaches the object as a score for action. Aiming to improvise with the given, the found and the pre-made, Nathan uses brevity, precision and humour as strategies to open possibilities in restricted material circumstances. Informed by his background in experimental music, Nathan’s work draws on a body of knowledge that is shared between art and music.
Nathan Gray’s 2014 work Species of Spaces was the winner of the 2014 Substation Contemporary art Prize and Substation People’s Choice Awards, and is now part of the permanent collection of the National Gallery of Victoria. He has shown at the 19th Biennale of Sydney and the 2012 Tarrawarra Biennale. His work Score for Dance was shown at Open Archive in 2011 and at the Australian Centre for Contemporary Art (Melbourne) in 2014, and he has exhibited in numerous solo shows, including Work with Me Here, 2015, at RMIT DesignHub; Things That Fit Together, 2014, at Utopian Slumps; Theorist Training Camp, 2012, at Westspace; and ACTS, 2012 at Utopian Slumps.

 

Feature, International Exchange, News

#4 the verb’s portrait is a wig

“David: Tell me what you want?” by Yu

“Natasha:I am dead. My eyes have remained forever open.” by Olvera

Focusing on meta language, the concept of the verb’s portrait is a wig, as well as the traces of unknown facts, depicts possible ways to space-out. This takes artists’ self projected third-person characters from their fictional narratives into reality.

David takes a key role through the four mockumentaries in ‘Tell Me What You Want’ the film project by Yu. He tells his stories about exotic encounters with the idea of relationship exchanges in Manila. Natasha, an indefinite soulful being, is (re)shaped from past tense to future scenario in Olvera’s artistic observations through his project ‘Will you respond to my beckoning, Edgar Poet?’, creating a memorised index where context becomes content in a literal sense.

Breaking the relational settings between body, soul, flesh and spirit, the artists’ imagination are weathered in a mirror relation, yet distance themselves from the ambiguous trans-subjectivity in their own imaginary contexts. The two figures become linked through the artists’ performative approaches. The linking verb between David and Natasha is ‘portray’.

A Nocturnal Performative Salon by Yu Cheng-Ta & Isaac Olvera 
Opening: 16 November 2017, Thursday 8pm | Screening: 17 – 19 November by appointment
Venue: Vernacular Institute (Av. Benjamin Franklin 50, Casa C, Escandón, Mexico City)

 

 

News, workshop

2017.11.25 Reading: A Post-Super-Future-Asia Writing Workshop Taipei Session朗讀會:後超級未來亞洲書寫工作坊台北站階段性發表

For English, please scroll down. 

時間:2017.11.25(六),4-6pm
地點:台北當代藝術中心,台北市保安街49巷11號(捷運大橋頭站)
參與者:吳其育、呂岱如、俞若玫、徐世琪、張允菡、張欣、莊博舜、郭娟、黃漢衝、葉文希、鄭惠文、謝柏齊、鐘玉玲、Dagmar Dahle、Khairulla Rahim、Nathalie Wuerth

在未來有兩個月亮的世界裡,海洋成為記憶體的儲存空間,而我們不再確定databytes的形狀;或許不再需要勞動行為來從事生產,而我們必須重新辨識什麼是有用和無用的東西……(1)

本場朗讀將由《後超級未來亞洲書寫工作坊》的參與者進行階段性的公開寫作發表,朗讀和分享工作坊在台北站的書寫成果。《後超級未來亞洲書寫工作坊》是一個跨國行動與合作,旨在和不同的文化藝術實踐者一起共同書寫建構一個亞洲的未來地誌,其所含括的領地正好名為「亞洲」,一個後超級未來版本的樣貌。其工作坊的前提設定是將領地作為超越地方的一種地理,由各地居民行為脈絡相關的地方與時間性相繫的各種分置歷史、意識形態、現象等所重新集合而成的一種地理概念,而這些亞洲各區所分置的思想島嶼如何被觀看成為一種從地理政治座標解放開的新群島鏈結,將是這個聚會所將要探索之處,在超越現有位置版圖和全球政治權力操控下的一種未來亞洲將如何出發?我們預計透過再思人類家族(Family of Man),去想像個體間真正的相屬關係,如情人、家人、族人、團體成員、和其他各樣社群社會關係之形式。

這個計畫包含:柏林、新加坡、台北三個駐點,透過不同的集合與書寫,這個計畫將像一名時間旅人般地遷移在時間的向度裡,思考人類未來社會的樣貌、對話與八卦,在我們的各種親密關係的系譜中、社會地理的形塑過程裡、感覺器官裡所發生的各種資訊流動和交換中,藉由多頻道生產的集體書寫經驗去探索共學和表達的可能,同時針對未來疆界預先進行去殖民的工程。

(1) 擷取改編自新加坡場次的集體書寫成果。

圖說:圖片內容來自本工作坊在新加坡的另類插花與翻譯練習,邀請參與者協作共構一個未來花園。取材自生活日常,並將背景設在作為未來城市花園的新加坡,進行城市和場景構建的思考線索。

 

Time: 2017.11.25  Sat. 4-6pm
Venue: Taipei Contemporary Art Center, No. 11, Lane 49, Baoan Street, Taipei (MRT Daqiaotou Station)
Participants: Chang Yun-Han, Fiona Cheng, Sheryl Cheung, Tomtom Chuang, Dagmar Dahle,  Guo Juan, Esther Lu, Khairulla Rahim, Angela Su, Tse Pak Chai, Jason Wee, Wu Chi-Yu, Nathalie Wuerth, Hayman Yip, Cally Yu, Zhong Yuling

In the future, we may have two moons on the sky and the ocean becomes the newest memory space while shapes of data become unknown. Perhaps labor won’t be required for any production, and we have to recognise all the useful and the useless things once again…(1)

This territory happened to be called Asia, or whatever a post-super-future version of it would be. The writing workshop’s working hypothesis is territory understood as geography is more than the bounds and expanse of place, but also an aggregation of discrete histories, ideologies and phenomenon associated with place and time that contextualized by inhabitants’ behaviors. In our vision, these islands of thought become an archipelago, yet in this future vision it is freed from the constraints of its geopolitical coordinates, no longer defined by any particular location or national borders, nor it is limited to any one part of the world. In another turn of phrase, this is to rethink the Family of Man, to reimagine the kinship of individuals as lovers, families, tribes, collectives and other forms of social relations.

The reading will be a public program of the writing workshop a-post-super-future-asia, and participants will be sharing their written draft with audience to open up more feedbacks and loops into the zone of future. 

A program travels from one city to another as time travelers, leaving one temporality and arriving in another, reimagining not only the future of human society but also of conversation and gossip, of the information exchange that occurs in those social dynamics, of the genealogies of our intimacies, of the shaping of our social geographies and sensuous terrains. We will be exploring modes of learning and expressing via the act of writing in a collective experience with multiple channels of production, as well as means of connections to decolonize borders of the future.

(1) Adapted from the collective writing result from the workshop’s previous session in Singapore. 

Caption: This image shows the installation exercise of a flower arrangement and alternative translation. By inviting participants to build a future garden together with everyday objects in the context of Singapore, a city aiming to be the future garden city, this exercise unfolded different traces for brainstorming a future city and scenario.
Feature, International Exchange, News

#3 kiss or kill? The body needs a verb to rehearse within a biography

Kiss or kill? Soul or form? Perhaps a gesture or a profile. The former ones refer to a sense of encounter, the latter to the account of autonomy. The two faces, while existing as parallel contexts on one side or the other, echo the theoretical substance of performativity.

Through balancing the heterogeneity of the act from each verb, they speak together. The concept of kiss or kill? The body needs a verb to rehearse within a biography is embedded in the intertextuality of body politics and biopolitics.

Following the crucial themes – death, power and the body – River Lin focuses on body politics. Lin’s work Mexician Kiss uses the body and site-specific installation to portray a ritual exercise articulated in an running sense of appearance and disappearance over time. Chang Wen Hsuan considers biopolitics as her key subject. Killing La Malinche departs from a common character found in different post-colonial histories. Here proposition illustrates the untranslatability of narratives under the imaginary historicity machines.

By countering the idea that if there is a first-person voice, there is a definition, both artists work-in-progress opens the question – If the first-person no longer exists then who owns the power of discourse?

Kiss may refer to a symbolic infinite and kill might speak for a zero degree. Or vice versa.

A Nocturnal Acted Salon with performative installations and happenings composed of narrative, editorial, and choreographic forms on Friday 27 October, 8pm (Exhibition: 28 Oct – 12 Nov by appointment)
Venue: Vernacular Institute (Av. Benjamin Franklin 50, Casa C, Escandón, Mexico City)

Mexician Kiss by River Lin & Killing La Malinche by Chang Wen Hsuan

River Lin (b.1984, based in Paris) practice includes site-specific performance, live art, theatre, dance, and installation. Lin takes cultural studies as a point of departure. The everyday and ritualistic of specific cultural contexts, the relationship between the body and spatial-temporal movements, and the bodily form between dance and performance art are the central concerns in Lin’s live art and curatorial practice. More

Chang Wen-Hsuan (b.1991, based in Taipei) is focused on performance through narrative and puppetry (animation) to explore the relationship between individual and historical narratives. She is concerned with how the individual inserts the self into various narrative structures; or conversely, the ways in which various narrative structures conceal personal voices, and how various historical writings determine individual lives. Her personal “storytelling" becomes an internally woven escape (liberation) route; fiction, because it s political. More

 

Exhibitions, News, Salon Spice, Talks

2017.10.25 – 11.18 Salon Spice Season II Episode 7: Exhibition: Life Cultivation 辛沙龍第二季第七集:展覽:生命種植-聲響計畫

For English, please scroll down.

時間:2017.10.25-2017.11.18
地點:台北當代藝術中心(台北市大同區保安街49巷11號,捷運大橋頭站)
藝術家:張欣

藝術家座談:2017.11.01, 7-9pm
地點:台北當代藝術中心(台北市大同區保安街49巷11號,捷運大橋頭站)

與談人:張惠笙、李婉菁

藝術家座談以中文進行。

什麼讓我們覺得活著呢?什麼使我們綻放與成長?

我對於從植物中探索暗熱情的生命力感到有興趣。我把暗熱情當作涵養生命的一種脆弱、柔軟、曖昧、內在力量。斯賓諾沙指稱哀傷降低我們行動的能力,我想另外提出這些陰性的能量將帶領我們到更為內在的行動力,像是內觀、身心調教以及其他理性主張以外的解放。從這些與不同女性所進行的採訪、生物紀錄、訪談和對於生命力虛構敘事的研究,我企圖在人類與自然的聲音往來中找尋對存在的洞察。

關於藝術家

張欣出生於加拿大溫哥華,目前居於台北。她的藝術實踐是變化性的,常透過共感的過程與他者對話,以錄像、聲音、表演等方式進行。其抽象繪畫與合唱的背景深刻地影響她的認知過程。作品曾發表於上海新時線媒體藝術中心、台北滲透影像藝術節、台北失聲祭、JOLT Arts Festival、韓國Jeju National Art Museum。她的表演《Inland》於2013年獲得Arte Laguna Art Prize提名。

與談人

張惠笙,1984年生於彰化,2006年取得澳洲皇家墨爾本科技大學純藝術碩士,主修聲音藝術,於2014年墨爾本的MIECAT學院取得經驗與創意藝術治療碩士。2003年,張惠笙曾展演於台灣、首爾、香港、杭州、澳洲、紐西蘭、蘇格蘭、法國、奧地利、葡萄牙、西班牙、德國、瑞士、希臘、波蘭、挪威與美國等地。她表演以即興為主,經常與各國聲音藝術家與其他媒材藝術家跨界合作表演。

李婉菁,西拉雅人,自幼與父親李茂松教授學習鋼琴、電子琴、樂理。東吳音樂系、美國約翰霍普金斯大學琵琶地音樂院電腦音樂研究所畢業,師事Dr. Geoffrey Wright,畢業論文 “A Performer’s Musicological Research in Performing Interactive Computer Music” 獲選發表於 International Computer Music Conference [國際電腦音樂協會 – ICMC] 2004。經年致力於電腦實驗音樂的演奏與創作,並於台北/台南長期主持「電音工作坊」,培育年輕音樂人。近年來並常與台灣藝術家吳俊輝、陳明秀、陳偉、劉守曜、區秀詒等,以及探索頻道合作,擔任配樂製作。

Time: 2017.10.25-2017.11.18
Venue: Taipei Contemporary Art Center, No. 11, Lane 49, Baoan Street (MRT: Daqiaotao Station)
Artist: Sheryl Cheung

Artist Talk: 2017.11.01, 7-9pm
Venue: Taipei Contemporary Art Center, No. 11, Lane 49, Baoan Street (MRT: Daqiaotao Station)

In conversation with Alice Hui-Sheng Chang and Sandra Tavali

Artist talk would be conducted in Chinese.

What makes us feel alive? What makes us bloom and grow?

I am interested in exploring the vitality of dark passions through the medium of plants. By dark passions I mean vulnerable, soft, ambiguous, and internal efforts that cultivate life. While Spinoza stipulates that sadness diminishes our ability to act, I would like to propose that these yin energies lead us to inward mobility, such as introspection, mind-body reclamation, and other liberation from rationally dominated achievements. Through ongoing explorations of field recordings, bio-recordings, interviews with women, and research into fictional narratives of vitality, I seek to find glimpses of existential insight through sonic communion between human and nature.

About the Artist

Sheryl Cheung was born in Vancouver, Canada, and currently lives in Taipei, Taiwan. Primarily working between video, sound, and performance, her artistic practice is metabolic and elements respond to each other often through a process of synesthesia. Sheryl’s artistic background in abstract painting and choral music heavily influences her cognitive process. Her work has been shown internationally, including Chronus Art Center, Shanghai; Osmosis Audiovisual Festival, Taipei; Lacking Sound Festival, Taipei; JOLT Arts Festival; and Jeju National Art Museum, Korea, Her performance ‘Inland’ was nominated for Arte Laguna Art Prize in 2013.

About speakers

Alice Hui-Sheng Chang was born on the 31st of July, 1984 in Changhua, Taiwan. Alice graduated from RMIT University’s MFA program (2006). Prior to the MFA she completed a Bachelor of Arts (Media Arts) at RMIT. Alice has also completed a MA in Experiential and Creative Arts Practices at the MIECAT Institute (2014). She has performed in East Asia, Europe and Oceania at festivals including Liquid Architecture, the NOW now, This Is Not Art, Electrofringe, and 2High Festival (Australia); Lacking Sound Festival, Kuandu Arts Festival, transonic, TAV Open Studio (Taiwan); Vozes de Magaio (Portugal), Santander Muestra de Arte Sonoro (Spain); Elsie Else (France); 2pi (China); Sound Effects Seoul 2010 (South Korea); and iiii Music (New Zealand).

Of the Siraya people, Sandra Tavali is a former keyboardist of the classical ensemble “Indulge" and the well-know metal band “Chthonic". She is the composer for the TV documentary “Unknown Taiwan" produced by the Discovery Channel. Also, she was the artistic  director of the musical “Dark Baroque.” Her musical works crossover between classical and fine art, film and documentaries. Since 2013, She started to work for theatre computer music workshops, encourage young musicians to work with deeper think-through creativities and collaborate with other international artists.