tide.hong kong: in transit

tide.hong kong : in transit is based on sensations of the sights and soundscapes of Victoria Harbour. The seashore platform in Whampoa is punctuated by holes which produce harmonic tones that shift with the tides. Lee’s works of art are derived from the intersection between installation and performance, and draw on a practice of listening to the world. In this site-and-time specific performance, the composite of the sound-making objects and human voices narrates subtle changes in environment .

This performance will be followed by “The Metamorphosis of Hung Hom,” a tour led by Walk In Hong Kong 活現香港. Once a centre of heavy industry, the neighbourhood has in recent years transformed into a mixed residential and commercial area. This tour will survey the old streets and stories of Hung Hom. The walking route will include cinemas, temples, factories and piers that form part of the history of Hong Kong.

Born in Hong Kong, Fiona Lee obtained her Bachelor of Arts majoring in Critical Intermedia Laboratory from the School of Creative Media at City University of Hong Kong. Her works of art are derived from the intersection between installation and performance. Her recent art practices and inspirations have come from the feeling of particular moments in her daily routine, which she explores as if it were a world of adventure. Her recent work focuses on the relationship between sound frequencies and electromagnetic fields.

Please rsvp to info@para-site.art for exact location.

《潮.香港: 過渡》源自維多利亞港的視覺景觀及聲境帶來的感官 刺激。於黄埔海岸邊的堤道上注滿小孔,在潮汐漲退間產生各種和諧 的音調。藝術家的作品介於裝置與 行為表演之間,並從其聆聽世界的實踐中獲取靈感。本件作品將在特定的場域及時間內舉行。作品由物件發出的聲響以及人聲根據環境中細微的變化.

表演之後,由Walk In Hong Kong 活現香港組織的【紅磡蛻變之旅】將帶領參加者走入舊時紅磡 。紅磡歷盡不同年代的變遷,由昔日作為重工業中心,電廠、船塢及工廠林立,蛻變成今天的住宅及商業區。 導賞路線將經過紅磡的廟宇、電影院、工廠、以及船塢,沿途想像及尋回香港的歷史足跡。

李穎姍生於香港,畢業於香港城市大學創意媒體學院,主修批判性跨媒體實驗室。 過去的作品以裝置和表演為主。現階段她的作品多依循當下對生活的感受為主,在日常生活中以一個獵奇的方式探索一個地方的可愛之處,以聆聽作為跟世界與自身連結的一個重要渠道,感受每一刻的流動。近期作品主要有關聲音頻率與電磁場的關係。

歡迎報名參加,為獲得具體表演地址請來信預: info@para-site.art


This event is presented as a public programme of In Search of Miss Ruthless, an exhibition that was chosen from an international pool through Para Site’s Emerging Curators program, now in its third year. For more info about the exhibition: http://para-site.art/en/exhibitions/in-search-of-miss-ruthless

這次活動是《尋求無情小姐》的公共項目。展覽詳細信息請見 http://www.para-site.org.hk/en/exhibitions/in-search-of-miss-ruthless

ART CAMP TANGO 2016 Performance

14 recurrence [The debut performance of the sound-playing trio ] @ Art Culture Outreach (ACO) [Sound on Site]

艺鵠場域定聲14迴》

三人玩聲組合「波寺」首度演出
電光火石之間,物件緩緩地上升、急速的下墜、回彈的漣漪以及他者的介入,三人玩聲組合「波寺」利用這些元素來回地製造有偏差的期望。一起搬弄著裡面的空氣和聲音,使14層中的一切都循環著,就像蠕動著的一條垂直的隧道,再而從橫向旋轉與垂直升降之間找到連結。三人於刻意安排與即興之間遊走,以人與物件之間的互動產生不同程度的迴響,這迴響看似推動著某種純粹的狀態。

波寺成員:
張才生、李穎姍及黃福權

關於波寺:
波寺的概念來自張才生、李穎姍及黃福權,它的基調源自於三人共同擁有對空間觸覺的本能。他們都會在這裡和那裡之間,以某一種距離,某一種速度,尋找和發現看似不存在又没有形狀的美學概念。波寺是一個把這些抽象概念實踐出來的地方,建構於表演、裝置、田野錄音、或只是記錄日常生活中對空間的感受,這都是圍繞著那個基調而作出種種嘗試。波寺可以看成是一個共同修行的地方,而且是圓的。

入場費 Admission: $50

ACO Sound on Site: 14 recurrence
The debut performance of the sound-playing trio Namiji

In the same fleeting moment with the engaging participants, the objects are gradually rising and being dropped rapidly in order to create the bouncing ripples. Namiji makes use of those movements to create the distance among expectations, as a result to enhance the vertical circulations within the stair by manipulating the sound and the air. The stair looks like a wiggling vertical tunnel, so as to find the connections between vertical movements and horizontal rotations. The trio performs between well-planned arrangement and improvisation, in which they are looking for the echoes assembled by the interactions between people & objects. Those echoes developed as if they are driving a certain kind of state of purity.

Namiji Members:
Samson Cheung, Fiona Lee & Wong Fuk Kuen

About Namiji:

Namiji is formed by Samson Cheung, Fiona Lee and Wong Fuk Kuen. The fundamental initiation of forming the group is inspired by the trio’s common ground in their spatial sensibility. They search and discover the intangible and seemingly non-existenting aesthetics with certain distance and speed, in between here and there. Namiji is where those abstract concepts being practised and executed in form of performance, installation, field recording and journal about their senses towards different spaces, based on their fundamental initiation. Namiji could be a hub for practising, in round shape.

關於《艺鵠場域定聲》

《場域定聲》是一個由艺鵠主辦,以聲音為焦點的場域特定藝術計劃。藝術家及觀眾,會透過不同的特定場域,及富啟發性及趣味性的藝術體驗,進行親密而意味深長的對話。

*座位有限, 入場請早

About ACO Sound-on-Site

Sound-On-Site is a site specific program presented by ACO (Art & Culture Outreach), we aim to develop an intimate and meaningful dialogue between the specific space, the artists and the audiences, and at the same time, create an inspiring art enjoyment experience for the audiences.

*Limited seats, first-come-first-served

主辦 Organized by: Art and Culture Outreach|艺鵠

查詢 Inquiry: 28934808/ hello@aco.hk

SELF-CRITICISM @ inside-out museum , Beijing

Inside-out Museum

Date : 27 May, 2017 – 17 Sep, 2017
Opening Reception : 14:00, Saturday, 27 May, 2017
SELF-CRITICISM
Conveners: Carol Yinghua Lu, Luo Xiaoming, Su Wei
Every few days we have our reality updated by news of yet another terrorist attack somewhere in the world. This creates a profound impact on each of us; when the frontline and battlefield are virtually everywhere, it feels like there is no longer a clear distinction between victim or soldier, enemy or friend. As we realize that we are living in this permanent state of emergency, we start operating as if our minds are in a constant state of alarm. This violence also spreads around the world as social disturbance. Inequality, corruption, and discrimination have been given legitimacy and normalized in daily life, providing a rationale for testimony on what appears to be given to us naturally.
On this level, the intellectual position finds itself facing a severe challenge head on. The basic critical perspective is actually unproductive in the face of reality as such, for it seems to easily descend into a zone of moral nihilism, lacking the competence or rigor to take action. However, the ethical views on political society and the understanding of political morality are conventional ideas that have shaped our ways of thinking. The subconscious predisposition underlying these ideas is transforming the self, which turns out to be cultivating self as if by constructing an intangible barrier from an inappropriate dialogue between the self and reality. In some historical periods or regional histories, when ‘religious’ institutions cooperated with government, this transformative cultivation of the self would be useful to avoid a disconcerting self-criticism, and provided a shield for those last bastions of serenity and self-identity.
As such, this inherited and habitual predisposition to avoidance perpetuates the position of ‘other’, while we celebrate and perform the system of capital and its power relations to which we are then attempting to turn our questioning. In fact, we compose not only the object of the challenge but also the challenge itself. This inheritance has become an unbearable burden imposed on reflective practice that has made it a tool of abuse. We have become unaware of the explicit reality where the self dwells, and the implicit connection between the self and any conventional discourse. The self is multifaceted, such that it should encourage us to re-think the landscape of the self, and to “self-criticize” in this state of emergency: As a cultural producer, how is one to re-project the self-position of knowledge production into the possibilities of the many realities and connections?
Self-criticism is essentially about cultivating a relation between a concept of the self and a state of the self. It is to discuss how to make a return to the self, as well as how not to be assimilated into the other. Considering self-criticism as a practice, its association with self-action and self-reflection is highly significant. On the one hand, self-action, ‘an ancient enmity’ remaining at a distance from reality, and is inclined to butt up against the logic of the text and the arguments of morality. On the other, self-reflection maintains the mind and body, the concept and the context, in an uncoordinated tension. We live within “systems”, and yet these “systems” are comprised by humans much like ourselves. In this regard we retain a position from which to criticize in relation to them. It is when these systems impose rules of judgment and define standards of value that self-criticism can help to read the resulting urges, and inspire conversation as a process of change-making.
Image, sound, and text should not simply reside in the inspiration of anger or the release of carnival. We argue for a constructive recognition of self-criticism in the process of cultural history, recognizing that it can provide fundamental theoretical premises for real actions.
This exhibition brings together artists, curators, and cultural critics, acting concurrently as a team, and concerning themselves with the implications of the proposed question, rather than merely explaining around the topic. Each project established under the proposed question devises for itself a constellation of thought where various ideas and key concepts are located in specific parts of their activity. This exhibition shifts from a stress on works consistently echoing a topic, to conceive of an open relationship between works and subject matter, without favoritism. We adopt the experimental titles Convener and Responder for the participants in the exhibition, so as to accentuate the taking of action, aside from emphasizing the general state of political emergency.
Respondents
(Beijing Youth Art) Office
Curator Respondent: Wang Youshen
(Beijing Youth Art) Artists: Chen Bo,Liu Zhe,Lu Beifeng,Situ Xiaochun,Tian Hu,Wang Hu,Wang Yupeng,Yang Gen
Border, Expedition and Inspection
Curator Respondents: Guo Juan, Hao Jingban
Artists: Dong Xing, Hsu Chia-Wei
How Much Time Is Being Wasted?
Curator Respondent: Lee Kit
Artists: Wong Mei Ling, Nicole Wong
Grounds for Sound
Curator Respondent: Edward Sanderson
Artists: Elaine W. Ho, Fiona Lee, Rong Guang Rong, Zhang Liming
Adequate Instructions
Curator Respondent: Salt Projects (Yuan Fuca, Han Xinyi)
Choreographer: Alvin Tran
Romantic City: Through the Practice of Aesthetic Criticism Today
Curator Respondent: Project ViA (Youmi Kang, Jeong Eun Kim, Sue Kim, Jongeun Lim)
Artists: Andeath, Seung Woo Back, Cha Jae, Wolsik Kim, Jaebum Kim, Dongwook Lee, Suk Kuhn Oh,Han Soo Yun
Bonsai Garden
Respondent / Artist: Han Lei
War After War
Respondent / Artist: Simon Leung
SELF-CRITICISM
Opening:
2017.5.27 14:00
Exhibition dates:
2017.5.27-2017.9.17
Venue:
Inside-Out Art Museum, No.50 Xingshikou Rd, Haidian District, Beijing100195 China
Organizer:
Beijing Inside-Out Art Museum
Supported by:
Beijing Cultural Development Foundation
Beijing Inside-Out Art Foundation
Goldstone Law Firm
Korea Arts Management Service

Re-Records & JOLT Presents The Book of Daughters

Re-Records & JOLT Presents The Book of Daughters

April-22, 2017
Time: 20:00
Venue: Focal Fair
Address: 28/F, Park Avenue Tower, 5 Moreton Terrace, Causeway Bay, Hong Kong

Ticket: HK$130 (at door only)

Featuring:
CHEUK WING NAM (HK)
THE AMPLIFIED ELEPHANTS + NAT GRANT (AU)
VANISSA LAW (HK)
ARKAJOLIE (HK) + HULLICK (AU)
FIONA LEE + DENNIS WONG (HK)
LISA MACKINNEY (AU)

Presented by JOLT & Re-Records

Co-organized by SECOND

THE BOOK OF DAUGHTERS is supported by the Victorian Government through Creative Victoria.

THE BOOK OF DAUGHTERS is supported by the City of Melbourne Arts Grants Program.

THE BOOK OF DAUGHTERS has been assisted by the Australian government through the Department of Communication and the Arts’ Catalyst —Australian Arts and Culture Fund.

Program & Ticketing enquiries: rerecordshk@gmail.com

Web site: http://joltarts.org/

walking slow in the protest @ Hong Kong on 25/3/2017

it was 4pm , when i was leaving home and planned to go to visit Art Basel or the performance in empty gallery.
On the way to Mtr, I decided to go for the performance in empty gallery instend of visiting Art Basel.
During the days in March, it was a blossom of art events in Hong Kong because of Art Basel in Wanchai. I felt a bit dizzy during that period .
When I was going to the bus stop for the transit, I was passing by a huge group of protester near to the sogo apartment store. They draw my whole attention and make me changed my mind to join the walk as well.

I didn’t voice any slogan during the protest. I just walked slowly as I can at the last part of the queue. And I found that there was a woman who have the same intention as me to walk slowly.We have several moments that we walk side by side and  I felt we have the same tempo . We didnt talk to each other but I felt that we quite enjoy the slow tempo. There are few times that the police use the louder speaker to warn us to walk faster. The male police in the car drive after me,who keep voice out “the lady with blue muslin dress and a brown color bag, yes! that’s you! You are the obstacle of the bus behind you ” OF course ! I don’t walk fast by their command as i felt that i m in the state of walking slow.However, the police tried to drive closly to us . One male police warn me and said”that’s a car, watch out!”, but i replied him”I m Human , watch out!”

I was quite enjoy the walk on the car road slowly and feeling the atmosphere in the city. It just like a soundwalk as I helded before. I was thinking about what if I could held a sound walk during the protest in the context of Art Basel. To invite those foreign buyers, curators etc etc to have a soundwalk in this moody atmosphere.  I imagined the sound of high-heel shoes mixed with the voice of protest and the voice of the police warning.

After an hour, the woman talked to me. She asked me to be careful as the policeman would trick as the protest didnt apply for notification of public meeting. At that moment, the police car driven beyond us and forced us to walk on the pavement, and control the tempo of our walk. I walked a bit faster and catch up the last queue.
However, I cannot enjoy the tempo as they controlled, then I leave the queue and heading to ACO.

Slow is a sin in this fast responds city and era.

川のほとりで @ 両国門天ホール

川のほとりで

第1回両国シネマ天丼 <シネ天>

【パフォーマンス】★本公演は公開撮影を行います
「川のほとりで」

出演
鈴木昭男・・・・・サウンド
フィオナ・リー・・サウンド
宮北裕美・・・・・ダンス

「川の字で寝る」とか「3本川」というように
川からはなんとなく3をイメージします。
サウンド・アートの先駆的存在として知られる
鈴木昭男、ダンス・音・美術など表現の間で
創作を行う宮北裕美、香港出身で気鋭の若手
サウンド・アーティスト、フィオナ・リーの3名による
パフォーマンスは、隅田川の春の風を感じる頃、
どんな景色を見せ・聴かせてくれるのか。

**出演者プロフィール**
鈴木 昭男 Akio Suzuki | サウンド・アーティスト
1963 年、名古屋駅中央線ホームの階段で行われた「階段に物を投げる」のパフォーマンスで音の世界に目覚め、 1970 年にエコー音器「ANALAPOS」を創作。1978 年、パリのフェスティヴァル・ドートンヌにて 海外で初めてのパフォーマンスを行う。1988 年、子午線上の京都府網野町で「日向ぼっこの空間」 を発表し一日自然の音に耳を澄ます。1996 年に開始した街のエコ-ポイントを探る「点音(おとだ て)」プロジェクトを世界 30 都市以上で開催。ドクメンタ8(1987, ドイツ)、ドナウエッシンゲン 現代音楽祭(1998, ドイツ)、大英博物館(2002, イギリス)、ザツキン美術館(2004, フランス)、 AV・フェスティバル(2014, イギリス)、など、世界各地の美術展や音楽祭に招待されている。http://www.akiosuzuki.com/

フィオナ・リー Fiona Lee | サウンド・アーティスト
香港出身。日々の生活の特定の瞬間に生じる感覚から得たインスピレーションによって作品を創作し、インスタレーションとパフォーマンスを用いた表現を行う。「聴くこと」によって、自身と世界をつなぐ関連が創られる と考えている。近年は、音の周波数と電磁場の関係に焦点を当てた創作を行う。音と光によるパフォーマンス「delight」は台湾、韓国、マカオ、香港で上演された。2016 年アジアミーティングフェスティバル(東京)に音 楽家として招聘。インスタレーション作品とパフォーマンスは、日本、マニラ、ソウルなどの国際フェステバル に多数招待されている。http://fionaobscura.com/wordpress/

宮北 裕美 Hiromi Miyakita | ダンサー・アーティスト
兵庫県伊丹市出身 京丹後市網野町在住。イリノイ大学芸術学部ダンス科卒業。「動かないダンス」と「モノそのものの動き」を追い続けてゆくうちに、即興パフォーマンスや視覚芸術の可能性を探り始める。2011年より鈴木昭男と共にサイトスペシフィック・パフォーマンスを続け、愛知県芸術劇場(2014)、ImagoDeiフェスティバル(オーストリア、2014)、岡山県立美術館(2015)などで上演している。近年、ダンサーとして活動してきた固有の時間感覚や空間感覚を美術表現へと持ち込み《Permanent Red》(2015、MediaShop、京都)《point A ⇄ point B》(2016、ozasahayashi_project、京都)などのインスタレーションを発表。Art Camp Amino2014/ ART CAMP TANGO 2016にアーティスト・キュレータとして参加。http://miyakitahiromi.com/

〈シネ天〉プログラム・ディレクター:宮岡秀行
主催:一般社団法人もんてん(両国門天ホール)
予約・お問い合わせ:両国門天ホール
電話/FAX: 03-6666-9491(電話は平日の13:00〜17:00)
メール:ticket@monten.jp(@は半角に直してください)

料金 前売3000円 当日3500円 門天会員1割引
予約問合せ ticket@monten.jp

 

NOISE TO SIGNAL 0.43 ELECTRO MAGNETIC ORCHESTRA

NOISE TO SIGNAL 0.43
ELECTRO MAGNETIC ORCHESTRA
9:00PM, 25 FEB, 2017

NAKAYUBI (JP)
FIONA LEE (HK)
KWC (HK)
SIN:NED (HK)

FOCAL FAIR
28/F, PARK AVENUE TOWER, 5 MORETON TERRACE, CAUSEWAY BAY, HONG KONG
ADMISSION: PAY WHAT YOU WANT

Jointly presented by Re-Records, SECOND & Focal Fair

Programme & Ticketing Enquiries
rerecordshk@gmail.com

https://www.facebook.com/events/360363847680310/

The interview of Asian Meeting Festival 2016-Fiona Lee (Japanese)

 

月球的對岸


事源於2016年11月14日,晚上有超級月圓,因為想到海邊賞月,便到黃埔海濱長廊看看。我跟男朋友在海濱長廊一直行走時,突然聽到一股像管弦樂器夾雜風的聲音在我們身邊從地上傳出來。我便發現這裡有一個個小洞,這些小洞直向穿過海濱長廊的地台,到達海面,而風就是由海浪一來一回產生出來,從小洞口走上地台上。
在這之前,我也在香港不同的地方如尖沙咀、九龍灣等海邊找到類次的洞,大多都是渠蓋的空隙。然而,在黃埔海濱長廊地上的洞是由中空膠管直穿地台,聲音聽起來比較清晰,也聽到地台下的海浪聲。所以決定在此地點再次進行錄音與研究。

我分別於2016年11月14日和2017年1月20日晚上大約8pm先後在此地錄音。第一次是在發現小洞後即時用iphone5 錄取聲音,第二次帶了Microphone 與ZoomH6 Recorder 錄取。第二次海浪與海風的聲音從小洞口傳上來比較弱,及後回想起這是非潮漲時間,所以海水的位置不高。我便決定下一次錄音時間是依據潮漲時段進行。

我選擇在13/2/2017晚上11時起進行第三次錄音,是基於滿月(11/2/2017)後,潮水在這天11時升到最高,也是比較少人群的時間。我坐在黃埔海濱長廊,每隔十多步就有一個洞在地上,我選擇一個有十幾個洞的角落,透過microphone漫漫細聽洞裡的聲音。晚上11時的黃埔海濱長廊比較寧靜,比起之前的潮漲時間(7pm-9pm)沒有太多人在這裡跳大媽舞與捉精靈。只有跑步的人走過,一片片的樹葉在地上吹過。2月13日的寒風仍然很大也很冷,我不得不把背包放在地上把風擋一擋microphone,好讓錄音順利進行。

在錄取這段聲音時,看著月亮在正前方的海面上高掛,我希望透過聆聽洞中的海浪與海風的聲音,把在地球上的我與月球的引力連結一起。

當我重溫所錄的聲音時,很喜歡膠管裡共鳴的聲音,加上海風與海浪互相穿插,令共鳴的聲音產生此起彼落的弦音。同時令我回想起黃福權的Aminoscape.
vimeo.com/121597501

希望日後能夠與不同的藝術家於滿月潮漲期間,在此地進行聲音演出或裝置作品。

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