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.
