「重見/建社會」系列展覽之七

開幕:2012.10.20 (六)3-6pm
活動:2012.10.20 (六)4pm 音樂會〈破碎的管絃樂團─臺北現場版〉

展期:2012.10.20 - 11.4
(周三-日 2-8pm)

地點:TheCube (台北市羅斯福路四段136巷1弄13號2樓 [地圖])

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


「重見/建社會」贊助:

「作曲家書寫了未來,以便留下未來不會留下的印記」展覽贊助:

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王虹凱〈作曲家書寫了未來,以便留下未來不會留下的印記〉

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台北立方計劃空間於10月20日,推出「重見/建社會」主題策劃展第七檔:王虹凱的《作曲家書寫了未來,以便留下未來不會留下的印記》,這是她於去年參加威尼斯雙年展台灣館展覽之後,首次在台灣的個展。

繼第六檔〈聲土不二-嘉義聲音再生計劃〉以聲音呈現嘉義地方的文化、環境、社會紋理,立方的第七檔展出,邀請同樣以聲音為主要創作觀念與工具的王虹凱,展出兩件作品〈咱的做工進行曲〉(2011年發表於威尼斯雙年展台灣館)及〈微聲計劃, 2010〉的錄影文件、聲音裝置,並於開幕當天舉辦一場現場音樂會,這場音樂會是她〈破碎的管絃樂團〉臺北現場版的執行計劃,將邀請鋼琴家/紐約大都會歌劇院副指揮王佩瑤、台北愛樂管絃樂團小提琴首席盧耿鋒、前衛琵琶音樂家駱昭勻、古琴家/佛光大學哲學系教授Wolfgang Schwabe,以及黑手那卡西工人樂隊創團團長陳柏偉演出。

關於《作曲家書寫了未來,以便留下未來不會留下的印記》

《作曲家書寫了未來,以便留下未來不會留下的印記》嘗試建構一個具有思考性的集體聆聽空間。在這空間裡,德國古典作曲家巴哈、美國前衛作曲家羅伯艾須里的音樂,及雲林虎尾糖廠工人的勞動聲音,提供了表演者、錄音者和觀眾三種不同的聆聽文本和平台,探索在不同的社會政治關係裡,「聆聽」如何組織我們的集體感知經驗。

〈咱的做工進行曲〉(2011) 與雲林虎尾糖廠合作,邀請虎尾糖廠的退休員工與其配偶回到製糖期的工廠錄製聲音圖景,經由一系列錄音工作坊從旁協助,學習掌握麥克風來收集廠區現任工人勞動的聲音,以及一起探索聆聽、錄音和生產的經驗。

〈微聲計劃〉(2010) 的構想最早來自臺北婦女救援基金會的邀請為慰安婦阿嬤創作,改編羅伯艾須里1998年歌劇《塵埃》,以劇場的跨領域創作為平台,通過語言和音樂的轉換,將一個發生在紐約街頭的想像情景移植至臺北市牯嶺街劇場,關注如何學習感同身受他人的痛苦。

〈破碎的管絃樂團─臺北現場版〉(2012) 將奧地利現代作曲家荀伯格的名言「我的音樂並非真的很現代,只不過被演奏得很不好」轉化成一個正式的表演原則,邀請專業的音樂家將王虹凱和她弟弟童年演奏巴哈《聖母頌》的錄音重新現場討論演繹。音樂家們共同的音樂素養在這裡被轉換成一種開放式的操演行為,無人引導的「表演」裡,表演者和聆聽者參與了一個多層次音樂空間的構築。


關於王虹凱

雲林虎尾人,臺大政治系和美國紐約新學院媒體研究所畢業,長期旅居歐美。作品主要以聲音做為概念性手段來探索社會關係與架構新社會空間的可能性,著重集體合作與過程取向的製作方式。作品形式包括公共介入、表演、工作坊、裝置等。

作品計劃曾於日本熊本當代美術館、加拿大蒙特婁Leonard & Bina Ellen美術館、意大利羅馬Museo Pietro Cononica、奧地利維也納Membra Disjecta for John Cage、第54屆義大利威尼斯雙年展臺灣館、盧森堡Casino Luxembourg當代藝術中心、韓國仁川女性藝術家雙年展、西班牙馬德里In-Presentable表演藝術節和La Noche en Blanco藝術節、臺北雙年展、日本橫濱三年展等。

王虹凱接下來將在瑞典斯德哥爾摩 IASPIS國際藝術村駐村,並於奧地利維也納荀伯格中心等地發表新作品計劃。

(個人網站: www.w-h-k.net


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The composer composes the future so that the composition leaves the traces of the future which the future won't leave
An exhibition organized by Hong-Kai Wang


Exhibition: Oct. 20, 2012 - November 4, 2012 (Hours: Wed. - Sun. 2-8pm)
Opening: Saturday, Oct. 20, 2012. 3-6pm
Performance: Oct. 20, 2012. 4pm (The Broken Orchestra Live in Taipei)

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)


On October 20, TheCube Project Space is pleased to present the seventh installment of the thematic exhibition Re-envisioning Society: Hong-Kai Wang's The composer composes the future so that the composition leaves the traces of the future which the future won't leave. This is her first solo exhibition in Taiwan following her participation in the Taiwan Pavilion exhibition at the Venice Biennale (2011).


About The composer composes the future so that the composition leaves the traces of the future which the future won't leave

Hong-Kai Wang's exhibition The composer composes the future so that the composition leaves the traces of the future which the future won't leave builds on her research into listening and sound as forms of perceptual, cognitive organization.

Concerned with the modality of "collective listening," The Composer... is structured as a polyphonic space consisting of two reconfigured recent collaborative projects and a live performance, leading visitors through works by the German classical composer Johann Sebastian Bach and the American avant-garde composer Robert Ashley, as well as the sounds produced by sugar factory workers in Huwei, Yunlin (Taiwan).

In collaboration with Taisugar's Huwei-based sugar plant, Music While We Work (2011) invites a group of retired factory workers and their spouses to return to the factory to make a soundscape as assisted by a series of recording workshops, while the current employees are at work. Within this special situation, all of them explore a shared experience of listening, recording, and production.

At the invitation of the Taipei Women Rescue Foundation, Wang conceived Watching Dust (2010) as an adaptation of the American avant‐garde composer Robert Ashley's opera Dust (1998) for the surviving Taiwanese comfort women. Originally presented at Guling Street Theater, Watching Dust explores how we could learn to identify the pain of others in a collaborative effort to translate into our own language - both musically and linguistically - a New York-based fictitious scenario to Taipei.

The Broken Orchestra Live in Taipei (2012) uses the Austrian modern composer Arnold Schönberg's famous quip "My music is not really modern, just badly played" as its formal performative directive, by inviting several professional musicians to reinterpret a childhood recording of Bach's 'Ave Maria' as performed by Hong-Kai Wang and her brother. The work shares an impromptu discussion, rehearsal, and performance as the audience witnesses the construction of a unique musical space. Performers include Pei-Yao Wang (pianist/assistant conductor of the Metropolitan Opera, New York), Lu Keng Feng (chief violinist of the Taipei Philharmonic Orchestra), Luo Chao Yun(avant-garde pipa soloist), Wolfgang Schwabe (guqin soloist/professor in philosophy of Fo-Guang University) and Bo-Wei Chen (composer/activist).

About Hong-Kai Wang

Born in Yunlin, Taiwan, Hong-Kai Wang received a BA in Political Science from National Taiwan University (Taipei) and an MA in Media Studies from The New School University (New York).

Wang's work has been exhibited internationally, including at the Contemporary Art Museum Kumamoto (Kumamoto, 2012), the Leonard & Bina Ellen Art Gallery, Concordia University (Montreal, 2012), Museo Pietro Cononica (Rome, 2012), Casino Luxembourg - Forum d'art contemporain (Luxembourg, 2010), and La Casa Encendida (Madrid, 2008). She has participated in such important exhibitions as Membra Disjecta for John Cage (Vienna, 2012), Taiwan Pavilion, the 54th Venice Biennale (2011), International Incheon Women Artists' Biennale (2009), La Noche en Blanco (Madrid, 2007), Taipei Biennial: Dirty Yoga (2006), and the Yokohama Triennial (2005).

Wang will be a resident artist at the Iaspis International Residency Program (Stockholm, 2012-2013). Upcoming projects will be shown at Arnold Schönberg Center (Vienna, 2013), and elsewhere.

(www.w-h-k.net)