After Being There 京丹の後

22.11.2017 (Wed 三) 8:30pm

@ Desk-one 溫室
23/F, Chung Kiu Commercial Building, 47-51 Shantung Street, Mongkok, Kowloon, Hong Kong
香港九龍旺角山東街47-51號中僑商業大廈23樓

:: Participating Artists 參與藝術家 ::
Samson Cheung Choi-sang 張才生
Arumimi Hifumi 有耳非文
Fiona Lee Wing-Shan 李穎姍
Frank Tang Kai-yiu 鄧啟耀

From 28 August to 10 September 2017, soundpocket and Hong Kong-based artists Samson Cheung Choi-sangArumimi HifumiFiona Lee Wing-shan, and Frank Tang Kai-yiu travelled to Kyotango, Kyoto, Japan for a two-week residency titled “BEING THERE 2017”. Together with the participating artists from Japan, they explored art, sound, places, and space in the city of Kyotango. They also engaged in dialogue with the local residents while wandering around this lovely city on the coast of the Sea of Japan.

“After BEING THERE” is the extended programme of “BEING THERE 2017”, in which the four Hong Kong-based artists will present to and share with the Hong Kong audience works and ideas that are both reflections and expressions in response to their experiences in Japan.

聲音掏腰包與藝術家張才生有耳非文李穎姍鄧啟耀於本年度8月28日至9月10日期間曾到訪日本京都京丹後作為期兩周的駐留計劃「BEING THERE 2017」,期間聯同一眾來自日本的參與藝術家於京丹後市進行有關藝術、聲音、地方與空間之探索;他們在這個日本海沿岸城市遊歷之時,也與當地居民作交流分享。

《京丹の後》為BEING THERE 2017 的伸延活動:四位駐香港的參與藝術家將旅途的所見、所感、所想化成一次在地演出及一場演後分享會,回溯與回顧京丹後之旅的點滴。

Ticket Price 票價:$80/$60*
* Full time students. Please provide image of valid student card. 全日制學生,須出示有效學生證。

>>> Book tickets now 立即訂購門票 <<<

Tickets available at Desk-one and on the soundpocket website
網上門票於溫室及聲音掏腰包網頁發售
www.desk-one.hk
www.soundpocket.org.hk

Enquires 查詢:3954-5584 / listen@soundpocket.org.hk

愛の渦

The exhibition @ Art camp tango is finished~
Got the parcel of my work カリカリの渦( kari-kari- no uzu )from the team and Akio 。Akio and the team made a DIY Film wheel to roll the film that I show in my installation.

so much love & resonances contain in this parcel! always keep my heart warm <3

ftarri Jam

  1. Ftarri Jam (33:16)

Yuma Takeshita: electro-bass
Yuji Ishihara: drums
Atsushi Arakawa: electric guitar
Fiona Lee: DIY electronics, objects

高島正志:drums, G.I.T.M.
竹下勇馬:electro-bass
石原雄治:drums
荒川淳:electric guitar
フィオナ・リー:DIY electronics, objects

Recorded live by Hiroyuki Ura at Ftarri, Tokyo, May 5, 2017
Mastered by Hiroyuki Ura

2017年5月5日、東京、水道橋「Ftarri」にてライヴ録音
録音・マスタリング:浦裕幸


即興音楽専門のCDショップ / レーベル、Ftarri が東京、水道橋に実店舗を開いて5周年となるのを記念して発売するCDの第二弾。2017年5月5日、Ftarri でのコンサートに出演したミュージシャン5人が最後に全員でおこなった集団即興演奏、33分の全1曲を収録。福島県郡山市在住の高島正志 (ドラムス、エレクトロニクス) はドラマーであるとともに作曲家としても才能を発揮し、作曲と演奏で参加したCD『Astrocyte』を2016年に Meenna レーベルよりリリースしている。同じく郡山在住の荒川淳 (エレクトリック・ギター) は、大友良英との共作LP のリリースで即興音楽シーンでも話題を呼んだトリオ編成ロック・バンド、RedTemple のメンバーでもある。竹下勇馬 (改造ベース・ギター) と石原雄治 (ドラムス) は、共に東京を中心に活発な演奏活動をおこなっていて、ここ数年は、Tumo という名前でデュオ・プロジェクトも続けている。フィオナ・リー (自作エレクトロニクス、小物) は、近年注目を集める香港在住のサウンド・アーティスト。Asian Meeting Festival 2016 への出演をはじめ、既に数回来日公演をおこなっているが、Ftarri へはこの日が初お目見えとなった。おそらく最初で最後の希有な組み合わせ。それぞれの発する音の数々が重なり合い有機的に結合し、躍動感溢れる好演となった。200部限定、通し番号付き。

It’s been five years since Ftarri, an online CD shop and record label specializing in improvised music, opened a physical store of the same name in Suidobashi, Tokyo. This is the second title in a four-CD series celebrating the store’s fifth anniversary. The single 33-minute track is a group improvisation by all five musicians who appeared at Ftarri on May 5, 2017, performed at the end of the concert. Masashi Takashima (drums, electronics), who lives in the city of Koriyama in Fukushima Prefecture, is a talented composer as well as a drummer. He participated as a composer and player on the CD Astrocyte, which was released on the label Meenna in 2016. Atsushi Arakawa (electric guitar), who also lives in Koriyama, is a member of RedTemple, a rock trio which gained attention on the improvised music scene for its LP release in collaboration with Otomo Yoshihide. Yuma Takeshita (remodeled bass guitar) and Yuji Ishihara (drums) perform together frequently, mainly in Tokyo. For the past several years they have been performing as the duo project Tumo. Fiona Lee (self-made electronics, objects) is a Hong Kong-based sound artist who has recently been gaining widespread recognition. She has performed in Japan several times, including at the Asian Meeting Festival 2016, and this was her first appearance at Ftarri. The concert that day was probably the first and last by this rare combination of musicians. The many sounds produced by each of them overlapped and combined in an organic way in this lively and impressive performance. Limited edition of 200, consecutive numbering.

ftarri de solo


即興音楽専門のCDショップ / レーベル、Ftarri が東京、水道橋に実店舗を開いて5周年となるのを記念して発売するCDの第三弾。本作には、東京在住のすずえり、香港在住のフィオナ・リーという、自作楽器を操るふたりの女性サウンド・アーティストのソロ演奏、全2曲を収録。1曲目は、すずえりが2017年3月18日に Ftarri でおこなったライヴ演奏 (14分30秒)。自作楽器のほかにアップライト・ピアノ、トイ・ピアノ、各種小物を使用。一方のフィオナ・リーは、2017年5月5日、Ftarri でのライヴ演奏 (23分)。自作エレクトロニクス、各種小物、水を使用。両者とも、独自の楽器から個性豊かなサウンドを生み出し、彼女たちならではの唯一無二の音楽世界を構築することに成功している。200部限定、通し番号付き。

It’s been five years since Ftarri, an online CD shop and record label specializing in improvised music, opened a physical store of the same name in Suidobashi, Tokyo. This is the third title in a four-CD series celebrating the store’s fifth anniversary. The two tracks are solo performances by female sound artists who play self-made instruments. Track one is a live performance by Suzueri, which took place at Ftarri on March 18, 2017. In addition to self-made instruments, she uses an upright piano, a toy piano and various small objects (14 min. 30 sec.). Track two is Fiona Lee’s performance at Ftarri on May 5, 2017 (23 minutes) using self-made electronics, various small objects, and water. Both musicians produce highly individual sounds using unique instruments, and succeed in constructing singular musical worlds. Limited edition of 200, consecutive numbering.

Purchase through the link below:

http://www.ftarri.com/ftarrilabel/887/index.html

http://fionaobscura.com/wordpress/product/ftarri-de-solo/

14 recurrences by Namiji

http://namijinamiji.wordpress.com

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/

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