開幕: 2013.10.5
2pm 開幕茶會
3pm 王福瑞講座:「我的九○年代」
5:30-6:30pm 電音表演-理化兄弟「Back to '90」(「混種現場」系列活動)

展期:2013.10.5 ~ 12.8
開放時間:週三~週日 下午2~8點(週一、二不開放)
地點:立方計劃空間 (地址:台北市羅斯福路四段136巷1弄13號2樓)
交通: 捷運公館站1號出口,水源市場東側-東南亞戲院後方巷弄,韓一閣餐廳樓上

主辦:立方計劃空間
贊助:國家文化藝術基金會
開幕活動合作:台北市文化基金會藝術村混種現場2013
特別感謝:在地實驗、蔡家榛

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伏噪-王福瑞九○年代聲音文件展 LURKING WAVES: Fujui Wang / Collected Objects from the 90s

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台灣最重要的聲音藝術家、聲音創作先鋒與推動者之一的王福瑞,將於台北的立方計劃空間舉辦早期創作與蒐藏品的文件展:《伏噪》,內容包括了王福瑞於1993年成立的實驗音樂廠牌「NOISE」所出版的刊物、卡帶以及CD;王福瑞與國外聲音藝術家來往的書信與交流物件;當時國外聲音藝術家的作品;九○年代於「在地實驗」舉辦的聲音展演活動紀錄。除了王福瑞講述九○年代噪音網絡的講座外,本展開幕活動將與「混種現場」合作,邀請「理化兄弟」樂團於立方計劃空間舉行復古電音表演「Back to '90」。


「聲音藝術」是二十一世紀才逐漸為當代藝術追認並試圖定義的藝術形式,雖然與科技、器材的快速進步與普及有關,但單從結果來看,很容易忽略了「人」和「人與人的網絡」對於「聲音藝術」脈絡形成過程的影響。九○年代的台灣,對於「現代聲響」正處於初步認識的階段,王福瑞當時成立的實驗音樂廠牌「NOISE」首次讓台灣成為國際噪音網絡的節點,將國外的聲音創作引介至台灣,同時也將台灣的作品推廣至國際。而與現今不同的是,當時的網絡連繫與作品寄送都需要依靠實體的郵件,藝術家們之間互相交換的作品--以卡帶為主--通常都有著複雜且細緻的手工製作與包裝設計,其本身就可視為包含強烈視覺感與概念性的藝術作品。即使使用的都是「低科技」來製作與串連,不過如今來看仍然能夠感受到這些藝術作品所隱含的強烈創作能量。

《伏噪》並不是用一個博物館式的角度,將這些文件、聲音與影像紀錄視為墓園式的懷舊陳列品,而是要通過90年代噪音網絡的回溯與呈現,銜接上台灣2000年之後的聲音藝術,勾劃出可被重新檢視和探討的脈絡和歷史,並且提出問題:如果「聲音藝術」不僅僅是關乎「聲音」,那麼,它應該還包括什麼?


王福瑞簡歷

1969年出生於台灣台北,目前為台北藝術大學「藝術與科技中心-未來聲響實驗室」主持人。主要專長為聲音藝術、互動藝術。1993年成立台灣第一個實驗音樂廠牌和刊物《Noise》,2000年加入「在地實驗」(台灣媒體藝術發展中少數以團體實驗室方式進行數位藝術的實驗、實踐與探討,也是早期少數以即時互動為主的創作實驗團體),並推動「異響/Bias」聲音藝術展與「台北數位藝術獎」聲音藝術類別,將聲音藝術推展成國內數位藝術具有特色的領域。
近十多年來一直致力於聲音藝術、數位藝術的創作與推廣,並策劃「台北數位藝術節」,2008年起策劃「超響」聲音藝術展演,帶動國內新一波數位藝術發展。王福瑞近期的個展包括《超傳波》(2013)、《靜噪》(2012)、《雜音空態》(2011);國內外的聲音藝術展演活動在北京、巴黎、威尼斯、紐西蘭、東京、香港、舊金山、紐約和柏林...等地。不斷地嘗試以創新實驗性的聲音作為藝術創作與聲音表演的主要脈絡。

王福瑞個人網站:www.soundwatch.net
王福瑞官方FB Page:www.facebook.com/Soundwatch


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Lurking Waves: Fujui Wang / Collected Objects from the '90s

October 5, 2013 - December 8, 2013 (Hours: Wed. - Sun. 2-8pm)
Opening: Saturday, October 5, 2013
2pm: Opening reception
3pm: Artist talk
5:30pm: Electronic-music performance Back to 90's by Physical Chemical Brothers

Address: 2F, No. 13, Aly. 1, Ln. 136, Sec. 4, Roosevelt. Rd., Taipei, Taiwan (MRT: Gongguan Station, exit no. 1, East side of Shui-Yuan Market)
Website: thecubespace.com
Email: info@thecube.tw


The influential sound artist, sound creation pioneer and promoter Fujui Wang will be the subject of Lurking Waves, an exhibition to be held at TheCube Project Space from October 5 to December 8, 2013. The exhibition presents documentation from the early period of Wang's career, including publications, cassette tapes and CDs produced by Wang's experimental music label NOISE founded in 1993. Correspondence and objects exchanged between Wang and international sound artists, sound works produced in the 1990s by international artists, a 1990s recording of a sound art talk/performance produced by ETAT (Taiwan's most important private-sector organization dedicated to media art in the 90's). Opening programming includes a lecture on noise scene in the 90s by Wang and a retro electronic-music performance titled Back to '90 by the local band Physical Chemical Brothers, a collaboration with On Site 2013.

Sound art has been gradually recognized and defined in Taiwan only in the last decade. While it seems advances in technology and popularity of equipment have greatly contributed to the promotion of this art form, the role of human networking cannot be overlooked in understanding the development of this young contemporary art form. Taiwan had only just began acknowledging sounds of modern time in the 90s when Fujui Wang established his experimental music label NOISE, the first Taiwanese node in the international noise scene. This introduced sound art into Taiwan while promoting contributions by Taiwanese artists abroad. Unlike today, works, mainly cassette tapes, were distributed in the 90s through traditional mail services, and their exchanges among artists often included elaborate, handmade packaging which can be considered artworks full of visual and conceptual qualities. While these wrappers were low-tech, the creative intensity put into their manufacture and networking can still be appreciated today.

For Lurking Waves, we do not present these documents, sounds and video recordings as simply dead artifacts to express nostalgia, but rather look back on Wang's 90s and link it with post-millennial sound art scene in Taiwan. The resulting re-investigation of this unique historical context begs the question: If we consider sound art to be more than just sound and its techniques, then what else should it involve?


Fujui Wang Bio

Born in 1969 in Taipei, Taiwan, Fujui Wang currently runs the Trans-Sonic Lab of the Center for Art and Technology at Taipei National University of the Arts. In his own art practice, he specializes in sound and interactive art. In 1993 Wang established NOISE, Taiwan's first experimental music label and magazine. In 2000 he joined ETAT, one of Taiwan's few art labs engaged in digital art experimentation, practice and exploration and early experimenters with real-time interactive art. Also in 2000, Wang initiated the BIAS Sound Art Exhibition and Sound Art Prize in the Digital Arts Awards Taipei, thus advancing a special domain for sound art in Taiwan's digital art field.

Over the last decade, Wang has continued to devote himself to sound and digital art creation while leading the next generation of digital artists through his involvement with public programming. To this end, Wang curates and promotes the annual Digital Art Festival Taipei and has served as curator for TranSonic Sound Art Festival since 2008. His recent solo exhibitions include Hyper Transmission (2013), Quiet Noise (2012), and Hollow Noise (2011). He has also participated in many international sound art events in cities such as Beijing, Paris, Venice, New Zealand, Tokyo, Hong Kong, San Francisco and Berlin. Wang continually experiments with new sound creation for the fields of art and sound performance.

Fujui Wang's official site: www.soundwatch.net


Organizor: TheCube Project Space
Sponor: National Culture and Arts Foundation
Event Co-organizor: Dept. of AIR, Taipei Culture Foundation