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Friday
23
MAR

聲音想怎樣?

19:00
21:00
MoNTUE北師美術館
Event organized by MoNTUE北師美術館

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聲音想怎樣?
Sound Matters

For English, please scroll down.

時間:3/16, 3/23, 3/30, 4/13, 4/20 週五晚上19:00-21:00
地點:北師美術館 台北市和平東路二段134號
策劃人:郭昭蘭
主辦:春之文化基金會、MoNTUE北師美術館
協辦:歌德學院(台北)德國文化中心、典藏藝術網

有一種說法表示聲音藝術是從未來主義的魯梭羅(Luigi Russolo)在1913-1930年間的作品開始的,這是第一種關於聲音遲到的說法。聲音比起繪畫、雕塑都晚到,它一直要到歷史前衛藝術那裡,才開始進入視覺藝術論述的視野。當然,這並不是說,在此之前人們不會在音樂廳中聆聽樂音、在廣場上聆聽鐘聲、在廟會上體驗喧囂的鑼鼓;而是,視覺導向的展覽空間中,被消音(muted)的聲音成了遲到的聲音。遲到的聲音因此向我們拋出了問題:聲音將如何在現代藝術的反身性論述中,在當代的跨域思維中,以一種後進的姿態推進問題意識?

「聲音想怎樣?」講座勘測遲到的聲音在藝術、文化與政治上的回響,展開的面相包括靈聽(clairaudience)的觀念與實踐、台灣現代聲響文化與其認識論模型、聲音場景在中國、聲音與衝突史、文化與政治工作中的聲音實踐。

「聲音想怎樣?」以五場講座,思索聲音佔領未來如何可能。第一場講座由來自中國的聲音理論家王婧,從技術、審美、與倫理的角度,對中國聲音場景進行批判式反思。第二場香港藝術家楊嘉輝將闡述他的「戰地鐘聲:衝突的聲音史之旅」,揭示聲音文化與痕跡、轉譯與記憶政治的交匯。相較於楊嘉輝聚焦探討聲音與摩擦、隔離、宗教、戰爭的聯繫,台灣的王虹凱將注意力轉向聲音的「聚集性」,她將與觀眾一起探索如何以「靈聽」(clairaudience)作為觀念和實踐,一方面複雜化「聆聽」的政治性,同時找尋「聚集性」的各種可能。第三場講座鄭慧華與羅悅全將目光鎖定台灣現代聲音文化,考堀它如何從「控管」與「抵抗」二者的辯證軌跡中組構;他們將嘗試大膽使用「社會作曲」作為概念來囊括這個認識論的模型。

聲音理論家Douglas Barrett在Christoph Cox的物質主義與Seth Kim-Cohen的理想主義之後,提出「批判音樂」一詞,以涵蓋一群利用音樂的形式—不限於聲音—從事文化與政治工作的當代藝術家;在第四場的講座中,他將說明當代藝術如何在聲音的限制之後,重新思索音樂。最後,第五場講座由2016文件展策展人之一的Hendrik Folkerts主講。Folkerts從2016的文章「保存譜:記譜、化身與活性」(Keeping Score. Notation, Embodiment and Liveness)出發討論譜的概念。譜經常設計表演發生的空間與社會條件,也將空間、建築與社會結構提議為音樂的或者是表演的參數。這次演講Folkerts將強調譜的不同類型學,著重它們在視覺藝術、音樂、編舞與策展的面相所展開跨領域啟發。

3/16 聲音場景批判
王婧:中國聲音場景批判:技術、審美、與倫理
主持人:王福瑞(北藝大新媒系助理教授)
回應人:張惠笙 (藝術家)

3/23 衝突或聚集
1.楊嘉輝:戰地鐘聲,及近期作品
2.王虹凱: 「共聽者,同行者」
主持人與回應人:呂岱如(獨立策展人)

3/30 聲音、現代性、社會
羅悅全、鄭慧華:台灣現代聲響文化與「社會作曲」
主持人與回應人:洪廣冀 (台大地理環境資源學系助理教授)

4/13 聲音之後
Douglas Barrett:聲音的限度:聲音之後的批判音樂
主持人與回應人:黃建宏 (北藝大藝術跨域研究所所長)

4/20 號召群集
Hendrik Folkerts:號召群集
主持人與回應人:徐文瑞(獨立策展人)

報名連結 https://goo.gl/forms/ST6U778AUHdXbM9F3
詳細單場演講大綱,請看這裡 https://goo.gl/oG2FbH



講者簡歷
1. 王婧
聲音研究學者,藝術人類學者,聲音活動策展人。浙江大學傳媒與國際文化學院副教授, 浙江大學求是青年學者。主要工作研究領域包括,聲音研究、感官研究、人類學方法。當下,關注「聆聽」和「田野錄音」作為聲音的一種社會政治和精神文化實踐。發表專著《聲音與感受力:中國聲音實踐的人類學研究》(浙江大學出版社,2017),在國際權威期刊包Representations,Leonardo,Leonardo Music Journal, Journal of Popular Music Studies發表學術論文若干。 2014年8月至今,她與本地藝術家聯合創立非營利民間組織BUS,致力於促成和推廣實驗和先鋒藝術活動。 2015年1月,她在浙江大學傳媒與國際文化學院創立「聲音實驗室」,致力於培養跨學科聲音實驗與實踐項目。個人網站www.sonorouspresence.org。

2. 楊嘉輝
楊嘉輝於1979年在香港出生,是一位藝術家及作曲家。他每套藝術作品都經過深入的研究,並以「聲音素描」及錄音等去記錄研究過程。他的畫作、電台廣播、演出及音樂創作常涉獵衝突、戰爭及政治疆界等議題。

楊嘉輝於2015年香港巴塞爾藝術展榮獲首屆BMW藝術之旅獎,並代表香港參與2017年第57屆威尼斯雙年展。他曾於多個著名場地舉辦個人展覽,包括日本廣島市現代美術館(2015)、紐約Team Gallery(2015)、香港Para/Site藝術空間(2016)、印度Experimenter畫廊(2016)、德國杜塞爾多夫美術館(2016)及曼徹斯特華人當代藝術中心(2017)等。2018年他將於第21屆悉尼雙年展及紐約古根漢美術館舉辦展覽,並將參與2019年愛丁堡藝術節(塔爾伯特萊斯畫廊)。

此外,楊嘉輝是多個樂隊的成員,曾與世界各地的樂團合作。參與過的藝術盛事包括曼徹斯特國際藝術節、德國達姆施塔特國際音樂節、美國奧斯汀Fusebox音樂節、紐約電子藝術節、德國德累斯頓TonLagen當代音樂節、意大利波爾扎諾跨領域藝術節及澳洲新舊藝術博物館現代音樂節等。

3. 王虹凱
雲林虎尾人,台灣大學政治系和紐約新學院媒體研究所畢業,現為奧地利維也納藝術學院PhD in Practice博士候選人。

王虹凱創作歷程體現知識制域、意識形態、語言與身分認同之間的張力,知識關懷歸因於縈繞在其島嶼經驗養成中的殖民與離散歷史,驅動她將分析視角放在權力、生存經歷、歷史交錯點上消亡的知識政治,並在美學、論述與知識生產的重疊之處加以脈絡化檢驗。她的作品透過表演、錄像、聲音、工作坊、論述等形式,實驗不同的聆聽模式、組織臨時的教習 (pedagogy) 性集結和合作性表演,與激發另類身體解讀,質疑並複雜化「聆聽」 與「群居性」的可能性和方法,尋求在既有年表與地理疆界之外,鍛造意想不到的群聚性與連結。

作品計畫曾於第14屆德國卡塞爾文件展、2016台北雙年展、日本京都Parasophia國際文化藝術祭、澳洲液體聲音藝術節、美國紐約現代美術館、 挪威Kunsthall Trondheim、 第54屆威尼斯雙年展台灣館等地發表。目前任教於美國紐約上州Bard College藝術學院音樂/聲音研究所。

4.鄭慧華與羅悅全

鄭慧華
獨立策展人,2010年與羅悅全共同成立非營利機構立方計劃空間,該空間以策展及研究導向之實踐關注「拓展策展」的可能性,致力於深耕在地文化、與創作者的長期合作和推動台灣與國際之對話連結。鄭慧華近年的策展包括:2011威尼斯雙年展台灣館〈聽見,以及那些未被聽見的-台灣社會聲音圖景〉、〈重建/見社會〉系列(2011-2013)、〈現實秘境〉(2016)等;共同策劃的展覽包括:〈造音翻土─戰後台灣聲響文化的探索〉(2014)以及〈告訴我一個故事──地方性與敘事〉(2016)等。

羅悅全
台北「立方計劃空間」的成立者之一,「造音翻土-戰後台灣聲響文化的探索」 (2014)共同策展人,並擔任該展覽讀本(2015)的主編。曾編著〈秘密基地-台北音樂版圖〉(2000)、翻譯〈迷幻異域-快樂丸與青少年文化的故事 〉(2002)。

5.Douglas Barrett
Douglas Barrett是一位橫跨音樂和寫作領域的藝術家。
Douglas Barrett的作品,廣泛被The Wire、Musik Texte、Guernica、Postmodern Culture等出版物討論。他近期在挪威的USF Verftet、維吉尼亞藝術中心(VCCA)和紐約的the Catwalk Institute等地駐村,並定期在北美、歐洲以及日本等地發表作品。他分別獲得德國索立突城堡基金會(Akademie Schloss Solitude)、德國學術交流中心(DAAD)以及紐約富蘭克林熔爐(Franklin Furnace)等機構的獎助。他的文章多刊登於Postmodern Culture、Contemporary Music Review、Mosaic、Glissando以及Tacet雜誌。其著作《After Sound: Toward a Critical Music》於2016年由英國Bloomsbury出版。

6.Hendrik Folkerts
Hendrik Folkerts(阿姆斯特丹大學藝術史碩士)近日被芝加哥藝術博物館聘任為現當代藝術策展人。除了對表演與身體政治、全球藝術史與女性主義藝術史的研究,他以委託創作來支持當代藝術家的實踐也同時展現在展覽、典藏、表演及研究計畫中─包括舉辦於2018年的黎巴嫩藝術家Mounira Al Solh個展《我堅信我們有權對工作輕浮》(I strongly believe in our right to be frivolous, 2018年2月8日至4月29日)以及一年兩次的系列表演。

Folkerts曾於2014至2017擔任第十四屆文件展策展人(雅典,4月8日至8月16日/卡賽爾,7月10日至9月17日,2017年)。他關注表演與記譜法、原住民實踐與東南亞暨太平洋藝術,透過策展實踐,他以委託創作的方式與大量新進藝術家合作,並與雅典、卡賽爾文件展的藝術總監Adam Szymczyk所領導的團隊一齊工作。

在此之前,Folkerts曾擔任阿姆斯特丹市立美術館表演、電影與論述計畫的策展人(2010年至2015年)。2009年至2011年間,他擔任阿姆斯特丹de Appel藝術中心的策展計畫專員。Folkerts的文章發表在《南方做為一種思想狀態》(South as a State of Mind, Mousse Magazine,、《MOUSSE雜誌》、《國際藝術論壇》(Artforum International)、《展覽主義者》(The Exhibitionist)、《大都會雜誌》(Metropolis M)、《藝術與公共領域》(Art & the Public Sphere)等出版品。他同時也是《影子文件#3:策展教育(2013)》(Shadowfiles #3: Curatorial Education)、《面向前方:從未來觀點望向藝術與理論(2014)》(Facing Forward: Art & Theory from a Future Perspective)、《阿姆斯特丹市立美術館研究期刊#:表演之處(2015)》(Stedelijk Studies #3: The Place of Performance)等書的共同編輯。

論壇策劃者:郭昭蘭
策展人暨藝術文字作者,目前生活和工作於台北,為台北藝術大學美術系副教授,主要教授20世紀後的視覺藝術與當代藝術專題。郭昭蘭長期關注藝術之於現實的動態關係。2006年起郭昭蘭開始以策展形式發表,主要關注聲音藝術、影像與視覺文化相關的文化實踐。近期研究興趣包括展覽如何發明歷史、創造知識、及其啓動衝突形勢中的協商動能。她策展的項目包括,聲音相關展覽「複音馬賽克(Phonic Mosaic)」(台中國美館,共同策劃,2006)、探討美術館作為典藏系統的「健忘症與馬勒維奇的藥房」(臺北市立美術館,2016)、聲音藝術家楊嘉輝個展「前衛吃錯藥」(臺北耿畫廊,2015)、探討國族論述與當代跨國展演機制的「台灣當代藝術展(TCA計劃)」(ISCP紐約,2011)。出版作品包括與劉文坤合譯「藝術力」(Boris Groys: Art Powe,MIT,2008)、雜誌專題「聲音之中,策展之上:聲音藝術的策展及其坐標與方位」(《典藏今藝術》,客座專題策劃,2014)等。

Sound Matters Lecture Series
March 16 to April 20, 2018
Curator: GUO Jau-lan
Venue: MoNTUE (Museum of Taipei National University of Education) No.134, Sec. 2, Heping E. Rd., Da-an District, Taipei City 106, Taiwan

Some point to the work of futurist Luigi Russolo between 1913 and 1930 as the advent of sound art. This is the predominant theory regarding the late arrival of sound. Sound arrived on the scene long after painting and sculpture. It did not appear on the visual art horizon until the historical avant garde.

Of course, this is not to say that people did not go to music halls to listen to music, or stand in plazas to hear the toll of bells, or experience the cacophony of gongs and drums at temple festivals; but rather, sound-muted became sound-delayed within the visually-oriented exhibition space.

Hence, the late arrival of sound poses a question: what effect does sound have on the theoretical constructs it comes in the wake of ? How does sound modify a prevailing consciousness through retrogression in the discourse of modern art within contemporary interdisciplinary contemplation?

The Sound Matters lecture series maps out the resonance in art, culture and politics of the belated arrival of sound; aspects including the expanding realm of sound as artistic practice, the concept and practice of clairaudience, contemporary sound culture in Taiwan and its epistemological model, the sound arena in China, sound and the history of conflict, and the practice of sound in cultural and political work.

Over five lecture sessions, Sound Matters contemplates the possibility of sound occupying the future.

For the first lecture, Chinese sound theorist Adel Wang Jing will critique and reflect on the sound art scene in China from the perspectives of technology, aesthetics, and ethics.

For the second lecture, Hong Kong artist Samson Young expounds on his work in progress, “For Whom the Bell Tolls: Journeys Through the Sound History of Conflict” to reveal the intersection of sound culture with the politics of remnants, translation, and memory. In contrast to the focus on connections between conflict, isolation, religion and war in Samson Young’s discussion, Hong-Kai Wang of Taiwan is attends to various modalities of “sociality” mobilized by listening. She will explore “clairaudience” as a critical concept and practice with the audience, while complicating the politics of “listening” and seeking unlikely “affiliation” beyond given times and spaces.

In the third lecture, Amy Cheng and Jeph Lo set their sights on Taiwan’s contemporary sound culture, exploring how it has been assembled from the dual dialectical trajectories of “control” and “resistance”; they will undertake a bold attempt to use “social composition” to conceptually encapsulate this epistemological model.

Following on to his response to the re-contemplation of music in contemporary art following restrictions of sound in After Sound, sound theorist Douglas Barrett will explain in the fourth lecture of the series how he coined the phrase “critical music” in the aftermath of Christoph Cox’s materialism and Seth Kim-Cohen’s idealism to encapsulate the group of contemporary artists engaged in cultural and political work who utilize the form of music but are not limited by sound.

The fifth lecture in the series will be given by Hendrik Folkerts, one of the curators of Documenta14. Folkerts will discuss the concept of the musical score with his 2016 essay “Keeping Score. Notation, Embodiment and Liveness” as a starting point. The musical score often determines the design of spatial and social conditions for a performance event; and suggests spatial, architectural and social structures as parameters for music or for performance. Folkerts will emphasize the various typologies of the score, with an emphasis on the interdisciplinary inspiration they provide for visual art, music, choreography and curatorship.

March 16
Adel-Jing Wang: Reflections on Mainland China’s Sound Practice: Techniques, Aesthetics, and Ethics
Moderator: Fu-jui Wang, Assistant Professor of Department of New Media Arts, TNUA
Discussant: Alice Hui-Sheng Chang( Artist)

Based on contemporary sound practices and artworks, I reflect critically on mainland China’s sound scene through three aspects, techniques, aesthetics and ethics. From its origin till today, musicians, artists, critics and listeners’ understanding of sound art, has always been influenced by foreign sound technology (e.g. tape recorders, DIY sound hardware, sound transmission technology, multimedia programming languages), aesthetic (e.g. micro, minimal, immersive), as well as ethics (especial John Cage and Gilles Deleuze’s confirmation on the transformative potentiality of the world and insistence on the process and liveliness of thing). At the same time, local socio-political milieus, virtual and ecological environments, and habitual tastes and ethics that have permeated individual’s everyday life and affectivity, inevitably condition the actual creation, performance and exhibition of sound works. In this talk, I attempt to propose my observation of two tendencies in the sound scene in mainland China: new naturalism and obscure criticality.

March 23
Samson Young: For Whom the Bell Tolls, and other recent works
Moderator and Discussant: Esther Lu (Independent Curator)
In this seminar, I will discuss an on-going project For Whom the Bell Tolls: A Journey Into the Sonic History of Conflict, which takes the titles of Hemingway’s novel quite literally and asks: who needs bells? For whom are bells cast, sounded, and preserved in perpetuity? Much like the traveling landscape artist, in this work I notate and record the sounds of these large sonorous objects in a variety of auditory conditions. The 60-day journey that spans five continents will generate an archive of recordings, sound sketches, a composition for tape and orchestra. I will also discuss a couple of my recent works, including the radio broadcast piece Nocturne (2015), LRAD performance Canon (2016), multimedia performance Anatomy of a String Quartet (2014), and installation The Coffee Cantata (Institute of Fictional Ethnomusicology) (2014).

Hong-Kai Wang: Co-listeners, Co-conspirators
Moderator and Discussant: Esther Lu (Independent Curator)

In her talk titled “Co-Listeners, Co-conspirators”, Hong-Kai Wang investigates the ways in which “clairaudience” can seek to reveal affiliations between different modes of knowledge production and living praxis. Taking her work informed by critical pedagogy as a point of departure, Wang invites the audience to together inquire and complicate the politics of “listening” and the possibilities of sociality.

30 March
Amy Cheng &Jeph Lo: Taiwan's Modern Sound Cultures and Social Composition
Moderator and Discussant: Kuang-chi Hung (Assistant Professor, Department of Geography, National Taiwan University)

"Reverberation," "noise," and "modern spaces" as auditory clues and thought metaphors from which to examine the development of Taiwanese history and sound cultures from Japanese colonial period, martial law and the lifting of martial law to present days, have been the main focus of research into modern sound cultures in Taiwan at The Cube Project Space in recent years. The research explores the formations of sound cultures that has been constructed between the two dialectical trajectories of "control" and "resistance." Perhaps we can boldly use "social composition" as a concept to encapsulate this epistemological model. This lecture will use "Sound Traces: Taiwanese Modern Sound Culture Database" as a departure point and through reviewing several landmark historical events to enter the discourse, for instance, the identity consciousness in the work of field recordings from the Japanese colonial period to the post-martial law era, as well as the post-martial law interactive political and social relationships in the noise movement of the 1990s.

April 13
Douglas Barrett: The Limits of Sound: Critical Music After Sound
Moderator and Discussant: Chien Hung Huang, Chairman of Graduate Institute of Trans-disciplinary Arts, TNUA

Sound and music: sound studies and sound art theorists often see the relationship between these two fields as inclusive. Music, they contend, is a special case of sound formalized through an essentially autonomous, even hermetic syntax. Meanwhile, musicologists and other scholars criticize sound’s epistemological construction as disciplinarily biased (e.g. Brian Kane’s “musicophobia”) or ahistorical (e.g. Georgina Born’s “year zero” phenomenon). But is there a more fundamental distinction to be made between the sonic and the musical? Can music exceed its alleged formal adherence to sound to engage with a broader social and political universe?

Responding to the proliferation of activity following the recently announced “sonic turn” in the arts and humanities, I propose a novel artistic category for socially engaged musical art practices. Coining the term “critical music,” I discuss contemporary artists who intervene into political conflicts by exploiting music’s unique historical forms. Beyond sound, these artists incorporate conceptualism, social practice, and activism in work that interrogates gender, sexuality, politics, and labor. In short, they use musical forms—not limited to sound—to do cultural and political work.

Consider, for example, John Cage’s silent composition, 4′33″, performed alongside statements made on the AIDS crisis. Witness a group of artists staging a punk prayer in central Moscow’s Cathedral of Christ the Savior. Or see a video documenting listening exercises performed by retired sugar factory workers in present-day Taiwan. Common to these scenes is not only a sense of political urgency, but also a musical field requisitely expanded beyond the limits of sound. So what, if not sound, unites the work of these artists? Ultimately, through practices of mobilizing bodies and staging participation, they deploy forms of composition: they construct and compose radical forms of commonality and collectivity.

April 20
Hendrik Folkerts : Calls for Assembly
Moderator and Discussant: Manray Hsu (Independent Curator)

Taking his 2016-essay "Keeping Score. Notation, Embodiment and Liveness" (South as a State of Mind) as a point of departure, Hendrik Folkerts will speak about the notion of the score. The score, as a musical but also as a visual apparatus, conditions a specific relationship between language, time and space. In the second half of the 20th century, composers and artists – using musical, visual and graphic languages – have advanced the score as a device that can both premeditate and emerge from the moment of performance, complicating the transition between score, live performance and documentation. In addition, such scores often design the spatial and social conditions in which a performance takes place, proposing space, architecture and social structure as parameters of a musical or performative work. While highlighting different typologies of scores, anchored in the visual arts, music, choreography and exhibition-making, Folkerts will focus on Cornelius Cardew, Jani Christou, José Maceda and Pauline Oliveros as composers who highlight the social as an imperative to the execution of the score.