Sonic Transmission 2016: Shanghai A+ Contemporary
Shanghai A+ Contemporary 上海亞洲當代藝術空間
Exhibition | 展覽:
Date and Time | 日期及時間﹕ 18/ 9– 16/ 10/ 2016 (9:00am – 11:00pm)
Grand Opening Performance | 開幕演出:
Date and Time | 日期及時間﹕ 18/ 9/ 2016, 6:30pm
Curator | 策展人
Andre Chan | 陳子澂
Artists | 藝術家
Wing-nam Cheuk | 卓穎嵐
Alex Yiu | 姚少龍
Exhibition - What Potions have I Drunk of Siren Tears?
As Greenberg stood on the peak of modernism, prescribing the aesthetic principles that artists of each different medium should comply with in order to secure the advancement of art, contemporary art had quietly begun to demolish the confines of media; John Cage, inspired by Rauschenberg’s “White Painting” created the composition “4’33’’” as a means to consolidate the concepts of readymade, spatial aesthetics, music of silence, chance and more, eliminating the distinctions between visual and sound aesthetics. He began bridging the creative possibilities of the two senses, and involving visual elements in all succeeding sound arts while drawing support from various contemporary art strategies to examine the intrinsic qualities of music and sound. The poet’s sonnet proposes references to the siren singers in Greek mythology; through alchemy, the sirens’ enchanting ability is converted into tears, something tangible. The works of Cheuk Wingnam and Alex Yiu serve to express two of the directions that the new generation Hong Kong sound art partakes in; this time, the two artists aim to dissect the performance nature of music and its connoted social consciousness as their creative approach.
「鮫人之淚」英文展名為"What Potions Have I Drunk of Siren Tears"，原文出自於《莎士比亞十四行詩集》中的詩文，中譯為「曾喝過幾多賽倫女妖的淚珠」。鮫人與賽倫以較廣為人知的說法為人魚，在西方神話中，賽倫慣以動人的歌聲引誘航海者觸礁；於東方傳說裡，鮫人滴淚成珠。策展人結合東西神話，隱喻聲音藝術在當代中的轉換。從克萊門特•格林伯格（Clement Greenberg）提出藝術透過自我表現而回歸純粹的特質，藝術的創作形式日漸廣泛。而馬塞爾•杜尚（Marcel Duchamp）早已在1913年以聲音為形式，創作了〈音樂勘誤表〉以及其他聲響作品。聲音雖然看不見，但是經過藝術家的創作便能夠將其形象、實體化。本展除了探討音樂與聲音的本質，亦將聲音這門藝術幻化為有形之物，呈現於觀者面前。
The two exhibiting artists exemplify the most current directions of sound art in Hong Kong, as an increasing number of sound artists begin to incorporate installation and visual elements before inserting in sounds to expose its social, experimental and critical aspects. Alex Yiu’s work includes various visual forms, including video, editing and animation. He combines sound collages with improvised performance to recreate images of popular music and collective memories; an unsettling ambiance is created through garbled codes, videos jammed with glitches, and noises, exhibiting the various predicaments and social chaos that Hong Kong has been through. Cheuk Wing Nam’s work carries a tone of humor where rejection and contest become imperative elements in her work. Musical instruments like the cello and violin serve as the exterior basis of her installation work while cassette tapes, speakers, amplifiers, and an electronic lever are further installed to encourage the audience’s desire to interact with the installation. Hidden within are micro-controller and an electronic instrument that utter irritating sounds and noises, implying an act of defiance.