Living Sound—Expanding the Extramusical

2019 / 04 / 27 Sat.

2019 / 07 / 07 Sun.

10:00 - 18:00

CURATOR

Lai Yi-Hsin Nicole

About

Nothing is out of bounds. To paraphrase Derrida, there is no extra-music. （Kim-Cohen, In the Blink of an Ear: Toward Non-Cochlear Sonic Art. pp.107） Sound and speech make up everything in the daily life, and are important media for and products of communication, delivery of meaning and mutual understanding between individuals in a society. Therefore, they also carry political and social implications, shaping and encompassing multifaceted channels for the communication between individuals, groups, diverse societies and cultures. Living Soundeech make up evExtramusical explores the sociality, culturality and agency of sound, along with all the extramusical qualities it embodies, and reflects upon the formation of subjectivity from perspectives informed by social, political, gender, class and other crucial experiences through exploring both sonic non-materiality and materiality of sound as well as their communicative characteristics. This exhibition reflects on several levels in the hope to prompt further and interwoven discussion. Firstly, it focuses on sound and speech as media and products that are interactive and discusses how they produce meanings when the interaction is carried out with the related people, things and objects to form a contextual structure, re-creating the meaning of understanding through communication that transcends space-time and mutual interpretation. In the work Sweet Minor Keys, artist Hong-Kai Wang invites a group of students for a series of ‟musicking” workshops, whcih adops, a contemporary perspective to revisit and reinterpret the social-sonic history of laborers working in the sugar industry in Madou Tainan, treating music and sound as a formative method to fabricate the public site and body politics. Nigel Brown’s work Sounding Symbol: Jian Cheng Junior High School Bell Tower, on the other hand, focuses on the site characteristics of the adjacent Jian Cheng Junior High School. Together, the artist and the students sound the school bell that only as a symbol and the function has never been used, as a way to re-examine how bells and bell sounds serve as a form of guidance and a symbol of discipline while reviewing how they connect and evoke the spirit and memory of a site The exhibition also reflects on how we discover and re-comprehend invisible sonic fragments hidden from daily conversations and sonic scenes, and through highlighting and revealing sounds made by artworks on view in the exhibition, encourages audience to re-interpret and re-imagine these hidden fragments. In Nobody Band #MOCA Taipei, Chiang Chung-Lun invites the museum staff to write about their work and turn their experiences into lyrics. The museum is then transformed into a performance site, through which the practice of singing as well as individual experiences and perspectives are amplified, constituting an expressive method to stir and reverse the rank structure and politics of the institution. In the Muted Situation series, Samson Young proposes the idea of ‟mute is not silence. Muting is not the same as doing nothing.” By foregrounding and unveiling certain sound layers and consciously muting others, the series presents audiences situations, and simultaneously opportunities, to listen to and understand sounds again. Whereas the presentation of sounds exposes the dominance of certain sounds and the marginalization or muting of others, the series prompts audiences to imagine and hypothesize negotiations and tension between multiple sounds through the interplay of hearing and not hearing sounds. Taking a step further, the exhibition also looks at how sound, with its varied extramusical possibilities, awakens individual and collective social agency to re-consider, re-define or re-imagine the social structure and relations between individuals and collective communities. Isaac Chong Wai proposes a participatory art performance in One Sound of the Futures, and Karolina Bregula’s Instruments for Making Noise exhibits instruments made from detritus of exhibitions. Throughout the exhibition, the instruments can be borrowed for people to make noises in demonstrations. By engaging people in participatory works and expanding the practice of making sounds, the artists hope to incorporate the participants’ bodies into daily public sites, creating channels for narrative and expression whilere- exploring the creative and receptive space of sound and speech as well as their subjective positions.

LESS

Artists

Chiang Chung-Lun

Hong-Kai Wang

Nigel Brown

Samson Young

Isaac Chong Wai

Karolina Breguła

Chiang Chung-Lun was born in Taiwan, and graduated from the Graduate Institute of Plastic Art, Tainan National University of the Arts. He specializes in using diverse forms to express individual life and history. His work mainly focuses on showing artistic landscape through daily actions and expressions, which enable mutual influences between daily life and art practice to reveal the quotidian force in existence itself that is different from spectacles. In 2009, he co-founded an art group, named Wonder Boyz, with Huang Yen-Yin, Su Yu-Hsien, and have been producing lighthearted, amusing, humorous and nonsensical ideas and creative works to dissolve and deconstruct barriers around art.

Born in Huwei, Taiwan, Hong-Kai Wang’s research-based practice confronts the politics of knowledges lost in colonial and diasporic encounters at the intersection of lived experience, power, and “listening.” Through experimental modes of sonic sociality, her multidisciplinary work seeks to conceive of other time-spaces that critically interweave the production of desire, histories of labor, economies of co-habitation, and formations of knowledge.

Born in Australia, sound artist Nigel Brown received his BA in Media Art and MFA from RMIT University in Melbourne, Australia respectively in 2004 and 2006. Since 2004, he has focused on practices of sound and experimental music creation. His art practice involves modifying existing music instruments and other objects to explore sonic possibilities, with an emphasis on developing physical experimentation of material objects. His work is usually site-specific, for which he integrates local history, social background, environmental characteristics and acoustics to capture people’s attention and engaging them in the act of listening. In 2016, he relocated from Melbourne, Australia, to Tainan, Taiwan, and established Ting Shuo (Hear Say) Studio with Alice Hui-Sheng Chang to promote listening practice and experimental music.

Born in Hong Kong, Samson Young holds a BA degree in Music, Philosophy and Gender Studies from the University of Sydney, an M.Phil in Music Composition from the University of Hong Kong, and a PhD in Music Composition from Princeton University, where he was mentored by the computer music pioneer, Paul Lansky. A multi-disciplinary artist whose practice merges technology and new media art, Young’s work mainly focuses on sound art and the culture of listening. Using avant-garde compositional traditions and techniques, such as probability, aleatory music, musique concrète, and graphical notation, he shifts from textual sound to re-explore inherent nature of sound and practices the concept of “reduction.” Combining aesthetics, conceptuality and intriguing interactive experience, his work reveals the authenticity of artistic expression as well as the relations between cultural politics and sound.

Isaac Chong Wai is an artist from Hong Kong (born in Guangdong, China). He graduated from the Academy of Visual Arts at Hong Kong Baptist University, with a BA in Visual Arts in 2012, and the Bauhaus-Universität in Weimar, Germany, with an MFA in Public Art and New Artistic Strategies in 2016. Influenced by personal events, social issues and global phenomena, he employs a wide range of media, including performance, public art, video, installation and multimedia, to discuss and interpret issues related to public sphere and human rights, collectivism and individualism, diaspora, war and politics of time and space, transforming the tensions, intervention and interactions of human bodies into a microcosm of human relationality in social systems.

Karolina Breguła works in the fields of film, photography and installation. Her work explores the problems of the status of the artwork, the materiality of art objects and their functioning within the institutional frameworks. She explores the problematic of the social role of art and the myths that revolve around it. In her recent practice she often uses participatory methods. Her works have been exhibited at institutions such as Zachęta National Gallery of Art in Warsaw,Jewish Museum in New York, and International Venice Biennale, She received Views 2013- Deutsche Bank Award and Golden Claw Award at Gdynia Film Festival in 2017. In recent years she has been working in Taiwan and Poland, engaging in interdisciplinary artistic and academic practices.

Artworks

Sounding Symbol: Jian Cheng Junior High School Bell Tower

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