Selection by Tomoko Sauvage

Fiona Lee Wing-shan – From Civic Square to City Hall
DAY AFTER [Soundpocket]

Tomoko Sauvage – 483 – Electronic Explorations by Rob_Booth | Rob Booth

Tomoko Sauvage, Japanese musician and artist active since mid 2000’s, investigates the sculpturality of sound and improvisation in relation to the environment. Mainly known for a musical / visual research about ‘natural synthesizer’ of her invention, composed with diverse fluid, bowls, ceramic, light and underwater amplification, Sauvage’s approach is attached to questions of alchemy, meditation and balance between hazard and mastery.

• Akio Suzuki – Ha Go Ro Mo
Odds and Ends [Hören]
• Momus – Costume de Lapin
Cagesan – I Love Machine [Beaubrun]
• Fiona Lee Wing-shan – From Civic Square to City Hall
DAY AFTER [Sound Pocket]
• Native Instrument – Live Berlin Atonal – NK presents at OHM
soundcloud Native-instrument – Live-atonal-2
• Andrew Pekler – Theme From Tristes Tropiques / Avian Modulations / Life In The Canopy
Tristes Tropiques [Faitiche]
• Alice Coltrane – Altruvista
A Monastic Trio [Impulse Records]
• Terry Riley – Music for the gift (Part 3)
Music For The Gift [Elision Fields]
• Theo Parrish – Summer Time Is Here
Parallel Dimensions [Sound Signature]
• Y.M.O. – Happy End
B.G.M. [Alfa]
• Felicia Atkinson – Monstera Deliciosa
Hand In Hand [Shelter Press]
• Killer Whales
Songs of the Whales and Dolphins [The Nature Company]
• T.R. Mahalingam – Thulasi Vilva
Ennadu Jootuno – Flute [Kosmik]
• Emmanuel Allard – L’Art Noir
Nouvelles Upanishads Du Yoga [Baskaru]
• Alvin Lucier – Music for Gamelan Instruments, Microphones, Amplifiers and Loudspeakers
Theme [Lovely Music]
• Akio Suzuki – Ha Go Ro Mo (replay)

I grew up with American-influenced Japanese pop music and classical piano training. Akiko Yano greatly influenced me to cultivate my passion for jazz. Also Tokyo in the 90’s was multicultural and I was listening a lot to soul, funk, brazilian and “world” music… When I moved to Paris after studying jazz piano in New York, I started to study Indian music (Paris has some Indian musicians via Pondicherry). Through Alice Coltrane and Terry Riley, I became interested in Indian music and that lead to the birth of my electro-aquatic waterbowls instrument. When I played my instrument using water drops in Japan, people said that it sounded like suikinkutsu – a traditional sound decoration system in Japanese tea garden – ceramic vase buried under the fountain. It’s like I made a round the world tour to find my own roots.

I loved the coincidence that made this playlist filled with singing birds – either accidentally recorded ones, synthesizers sounding like them or sampled sounds of a domestic bird (named Cagesan). Also Mahalingam’s flute is my favorite bird mimicry…

More text / info – please visit >

Joy of gravity , dripping from 5/F @ Morrison Hill IVE.

I was so obsessed on this stair once I have a visit to Morrison Hill IVE. I have an idea to develop the idea of water droplet even it just only five floors in total in this building. I assume that the droplet takes shorten time to travel from the top(5/F) to the G/f. Anyway, I would like to listen and see how long does a water droplet drip to the G/F in a performance setting!
It is my 2nd time that direct the performance with others, we learn a lot from each other! it is an amazing thing happen during the process of performance!
The setting of a water droplet is the original plan, in which I was thinking of something that responds to it and moves from the G/F to 5/F. So I hope to include Tama’s weaving action into this performance. She weaves the cloth in a normal tempo, but the weight of the yarn is a bit higher which hanged with some bells on it, so she needs more time to weave. I assume that the bell rings according to the action of weaving.
Besides, Tina is the one who focuses on the bell rings and her action on walking and the rotation of a marble on a plate, when she meet the water droplet, she will place the plate to catch those droplets. It is a simple rule for notation and human movement. That makes a certain tempo and yet would deliver an amazing moment with others in certain kind of moment.
For the interaction with Tam Man Ho, and I myself, we jammed a bit and I felt that he was used to playing sound with others. That is a great experience that improvises with youth. The experience is great and teachers also found how amazing he could perform in this situation.
Never the less, Thanks for Una! She gives a pop hand to help in handling the fish pole and rolling the radio back to the 5/th floor. An important timekeeper for the performance, though we adjust the time when we are playing.

In this piece, I was thinking of music composition through the arrangement of human actions, daily objects and spaces. I hope to deliver an other perspective of performing art for youth. I was so happy that a youth told me about how he felt about the performance. He said that he found the audience is being part of the performance as well when they are moving.
Nice comment!

Fiona Lee & Jasper Fung Dou set @ Beta Night , Twenty alpha , Live streaming by HKCR

Beta Night of Twentyalpha HK @ Foo tak Building!
Live streaming by HKCR

It is the first duo of Fiona Lee & Jasper Fung. They were using coil and transducers for their sets , which combined with different daily objects. While Fiona Lee was making use the physics phenomenon of the electromagnetic field , which drives the magnet spinning in a glass bowl, Jasper Fung was using the sound of feedback to drive the transducers.

Those were exploring the alternatives ways of the use of “speakers” within this performance setting.

Uchronia , Compilation Project by Syphe

49 artists and bands from 32 Asian countries and the diaspora
3 CDs + one booklet that includes an essay, contacts and biographies of the artists. Handmade covers, limited to 1000 copies.
The digital version also includes the booklet as PDF, you can also access all biographies when clicking on info (next to the tracks).

Lebanon (Sharif Sehnaoui, Jad Atoui & Jawad Nawfal, Stephanie Merchak, Rhéa Dally feat. Will Llewellyn)
Iran (Xerxes The Dark, NUM)
Iraq/Kurdistan (Hardi Kurda, Khabat Abas, Wirephobia)
Sri Lanka (Isuru Kumasaringhe, Dinelka, hygy hairr, )
Vietnam (Cao Thanh Lan, Phu Pham)
Myanmar (Phyu Hnin Thwin, Crazy Eels Society, Ito)
Malaysia (Kok Siew-Wai)
Hong Kong (Fiona Lee, Dickson Dee)
Sri Lanka/Japan (Kei Watanabe)
Georgia (TeTe Noise)
India (Sarmistha Talukdar)
Syria (Eyeless in Damascus)
Turkey (Tuna Pase, Gülce Özen Gürkan)
Taiwan (Li Chi Hsiao)
Macao (e:ch)
Philippines (Children Of Cathode Ray, Teenage Granny)
Maldives (Autonomotor)
Thailand (Liew Pichanan Niyomkarn)
Armenia (VHSound)
Palestine (Asma Ghanem, Dirar Kalash)
Singapore (Lydia Ang)
Jordan (Yousef Kawar)
Kuwait (Ali Alsarraf)
Azerbaijan (Violet Cold)
India/UK (Churulian, Poulomi Desai)
Bangladesh (sinin)
China (Hui Ye)
Kyrgyzstan (broxxz)
Uzbekistan (Orgatanatos)
Kazakhstan/Turkey (Saadet Türköz, Zeynep Sarıkartal, Başar Ünder)
Bahrain (Hasan Hujairi)
Indonesia (Sarana, Theo Nugraha feat. Jeritan)
South Korea (Sabina Hyoju Ahn)
Japan (Yuko Araki). 

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

:: 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

Enquires 查詢:3954-5584 /


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.
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


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:

14 recurrences by Namiji

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 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。


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:


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