Publication 2018

響相x聲物 2018 Publication Contents

Story 1
Soundwatch Studio 響相工作室
前言
「Soundwatch Studio 響相工作室」多年來一直進行國際交流合作計畫,由福瑞與盧藝長期合作下,把台灣的”聲音藝術”拉至更廣顯的位置。而兩人創作的手工電子裝置的聲音作品,多樣化地呈現在不同現場表演、展覽與工作坊中,如今工作室成為一股影響的推力,也在台灣聲音藝術中扮演一個關鍵角色。

王福瑞與盧藝兩人,希望以更廣遠的視角以及具組織性、合作色彩的定位,推動台灣​與國際更多聲音藝術相關計畫​。福瑞偏向研發與技術製作,盧藝偏向文字、行政、工作坊、記錄與媒體宣傳,不僅是師徒和上下屬關係,兩人更有長達多年工作上磨合來的夥伴默契。

2015年4月​,響相工作室參與三場重要演出:​「射殺鋼琴師-台北1990-95噪音現場」展演計畫,於倫藝大柏貝克學院​​演出​,隨後也在英國格拉斯哥當代藝術中心的​「逆流音樂節」和倫敦Café OTO交流演出​。同年​9月,台北數位藝術中心邀請工作室參與「異響2015-台比聲音藝術交流計畫」,於比利時蒙斯市​「城市之音」藝術節演出。​同年​11月工作室在台北數位藝術節「創世紀Digitopia」,呈現電磁波、手工自製電子樂器、電路擾動、硬體駭客和類比錯誤聲響​的聲音藝術演出。2016年​5月工作室策劃「超聲波2016」,並參與「失聲祭LSF100」、「大內藝術節TAD」…等多場活動演出。

2017年1月在台北DigiLog聲響實驗室,舉辦工作室第一個成果展:「王福瑞 & 盧藝雙人展」,呈現兩人工作外另一種創作面相與積澱。同年8月工作室與澳洲聲音組織:液態建築Liquid Architecture(LA)進行交流計畫,在澳洲墨爾本皇家理工大學藝術家演講外,在墨爾本維多利亞藝術中心和布里斯本當代藝術中心等地進行聲音表演。同年11月液態建築來台北進行首次巡迴計畫「入聲」,與工作室共同舉辦「大眾聲音民宅」工作坊。

從2011至2018年目前為止工作室已於海內外等許多城市執行多場的聲音藝術展演計畫。包含台北立方計畫空間、台北當代藝術館、台中國立美術館、台北數位藝術中心、台北雙年展、香港巴塞爾藝術展、紐西蘭基督城The Physics Room、柏林電子藝術表演實驗室、卡爾斯魯厄藝術與媒體中心、林茲電子藝術中心、巴黎École nationale Supérieure des Beaux-Arts、芝加哥Antena藝術空間、舊金山The Lab藝術空間、比利時蒙斯以及紐約皇后美術館。

Soundwatch Studio has worked on international exchange projects for many years. The long-term endeavor of Fujui Wang and Yi Lu has taken Taiwan’s Sound Art to a wider and more eminent status. The home-made electronic sound works co-created by the duo are widely shown in various performances, exhibitions and workshops. More and more people come to understand and estimate the specific kind of art. Today, the studio has become a drive of influence while playing a key role in the Sound Art of Taiwan. Fujui Wang and Yi Lu.They decided to co-found Soundwatch Studio in the name of Fujui Wang with the expectation of taking part in more related exhibitions and performances together in 2011.

Fujui Wang and Yi Lu established the Soundwatch Studio to promote the creation, exhibition, performance and workshop of renovating and experimental audio art both locally and internationally. In studio, Fujui Wang is more oriented towards sound art technology, installation creation technique and production whereas ​Yi Lu is​ more oriented towards sound art writing, administration, workshops, documentation and media promotion. ​Team​ relation is not so much about a master and a disciple or a senior and a subordinate. Rather, ​Fujui Wang and Yi Lu ​has​ developed ways of mutual coordination from many years of collaboration.

In April 2015, studio was invited to do 3 vital performances of exchange in the U.K. The first was the inaugural performance for “Shoot the Pianist-The Noise Scene in Taipei 1990-95 Exhibition” at the Birkbeck School of Arts University in London. The second and the third performances were carried out at the Centre for Contemporary Arts, Glasgow for Counterflows Festival and in Café OTO respectively. In September and November 2015, studio was invited by Digital Art Center, Taipei, to do two performances in the “B!as 2015: Taiwan-Belgium Sound Art Exchange Project” and the “Digitopia Digital Art Festival Taipei 2015” , Yi Lu has appeared performances alongside Fujui Wang, in the name of studio, through kinetic hypersonic speakers in performances with different sound forms and using​ electromagnetic waves, home-made electronic instruments, circuit bending, hardware hackers, and analog errors​ to create immersive sonic environments in performances with different sound forms of performances. In May 2016, studio organized “Hypersonic 2016”, also invited to “Lacking Sound Fest.100” and “Taipei Art District Party Night” …performances.

In January 2017, studio organized their first exhibition “Sound​_​Wa​t​ch X Sound​_​O​​​bject, Fujui Wang & Yi Lu” in the DigiLog Lab, Taipei, which represented the result of the soundwatch studio’s long-term collaboration. In August 2017, studio was invited by the Australian sound organisation, Liquid Architecture(LA), to do a tour performances in Australia, occasions including the Arts Centre Melbourne, Make It Up Club and The Institute of Modern Art, Brisbane. Also an a​rtist talk at the RMIT University, Melbourne. In November 2017, LA took the first tour “ENTERING TONE” outside of Australia, collaborated with studio to do the “Social Sound House” Workshop in Taipei, Taiwan.

Soundwatch Studio has been widely exhibited and performed in museums and festivals in Taiwan and abroad from 2011 to 2018,including TheCube Project Space(Taipei),Museum of Contemporary Art Taipei,National Taiwan Museum of Fine Arts(Taichung),Digital Art Center(Taipei),Taipei Biennial,Art Basel Hong Kong,The Physics Room(Christchurch,New Zealand),Lab for Electronic Arts and Performance(Berlin),ZKM(Karlsruhe),Ars Electronica Center(Linz),École nationale Supérieure des Beaux-Arts(Paris),Antena(Chicago),The Lab(San Francisco) and Queens Museum(New York)…etc.

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Story 2
Luyi X soundart 盧藝與她的聲音藝術
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Demolition Eve02

「不想再為世俗框架和社會期待而活,教師證對於不走教職而言如同張廢紙,如果不當老師到底還可以挑戰什麼?」這是盧藝掛在嘴上的一句話。

2011年盧藝因緣際會下走進了另外一個世界,將及腰的長髮剪下,換上全黑的工作服,走在台灣聲音藝術教父王福瑞身邊,從行政、設計、記錄、作品助手開始走上未知的藝術家道路。從一次的福瑞助教經驗學到關於Atari punk console的電路知識,她開始有了一些想像,能不能在工作忙碌之餘,動手做一些讓自己覺得有趣的東西,或許也是內心老師經驗的引領,她利用相同的電路原理,換上不同電容、光敏電阻做出了自製教具樂器。

在2013年底王福瑞在台北當代藝術館展出個展’’超傳波’’(HYPER TRANSMISSION),展覽要搭配一個藝術家工作坊,盧藝自告奮勇上場,她說:「當時聽到這個眼睛都亮了,有機會跟大家解釋什麼是聲音藝術,一直是我想做的事,因為很多人對”聲音藝術”感到陌生又好奇,以為藝術品只要有聲音就算是了。所以我提案希望把簡易Atari punk console電路,以半成品方式,呈現在’’超傳波’’展的工作坊中。」

之後盧藝的工作坊開始有了來自其他單位的邀請,結合以前的教育經驗,後學的手工電子知識,接了一場又一場的工作坊。也開啟了與立賢基金會的長期合作計畫,兩年進入超過30間偏鄉國小。她說:「進到國小,”聲音藝術”這東西是音樂還是藝術還是什麼,詮釋和解說都會是掛在隻身來校的我身上,畢竟國小課程比較沒機會碰觸到這些,但又不能講得太枯燥太學術,以免小學生覺得又難又無聊而有負面印象,所以我準備了一顆電漿球,用電磁波麥克風收音,可以親手摸著電又聽到電的聲音,來開啟很酷的起頭,另外搭配遊戲、繪畫和笑話一邊進行課程,希望可以讓他們覺得”聲音藝術”是個超好玩的主題,也是另一種音樂或藝術欣賞方式。」

「很多聲音藝術家都以現場表演和展覽作品的方式居多,得到的關注會比較即時,也會比較有當藝術家的成就感。當然”聲音藝術”的表現方式很多元,我選擇用教育呈現我的想法,帶很重的喇叭和教具設備,連續上一樣的內容但需要保持新鮮有趣,忙完原來手邊工作,隔天又緊接著搭車到偏鄉上課,上完課又回到忙碌的工作,對我也是個體力考驗,但就這麼次次累積下來,也變成一股力量……」盧藝回憶地說。

緣份讓盧藝離開教師身份,卻也繞了一圈回到教學現場,因而相繼邀約所開設的工作坊從未間斷。更重要的是,盧藝將大眾所不熟悉的聲音藝術推得更廣,用一套畫畫與聲音的小樂器。經過不斷地推廣,得到的資源和認同也越多,經由好友謝華玥的攝影,與胡子哥參與,加上原是同事的沈怡君協助教學,三人運用各自不同背景與專長,跟著盧藝持續記錄和推廣”聲音藝術”。

「教學就像表演,觀眾反應都會反饋到自己。」盧藝將自身教育背景與新媒體藝術共構,將理論、實作、遊戲三者結合,透過基金會的支持,努力實踐內心想要達成的挑戰,也為自己在”聲音藝術”裡找到一個獨特的位置。

“I don’t want to live in the conventional frame or for the expectation of the society. Teaching certificate means nothing if you don’t teach. If not, what challenge to take?” Yi Lu often says.

In 2011, Yi Lu entered another world by chance. She had her long hair cut short, wore entirely black work clothes and followed Fujui Wang, the godfather of Taiwan’s Sound Art. From administration, design, documentation to co-creation, she stepped onto an unknown path of art. She acquired knowledge of circuit about Atari punk console(APC) by helping Wang in a teaching session and began to imagine: maybe she could do something interesting in her leisure time. Perhaps due to her inner experience as a teacher, she employed similar circuit principles and replaced with different capacitances and photoresistances to create hand-made teaching tools.

By the end of 2013, Fujui Wang held a solo exhibition in MOCA Taipei titled “HYPER TRANSMISSION” which required an artistic workshop. Yi Lu audaciously volunteered, “When I heard this, my eyes were wide open. I’ve always wanted to have the chance to explain sound art to the public. For many people, Sound Art is unfamiliar yet it arouses curiosity. People think works with sound belong to the genre. So I proposed to represent basic APC circuits in the form of raw products in the workshop of ‘HYPER TRANSMISSION’”.

Other organizations began to invite Yi Lu to make workshops. Combining her previous teaching experience and knowledge of hand-made circuits she learned later, she undertook workshops one after another. One of them resulted in a long term collaboration project with the Shiner Education Foundation. Within two years, she took her workshops into more than 30 primary schools. According to Yi Lu, “Since primary schools don’t teach Sound Art, when I was invited to talk about it, I had to explain all the questions about whether it’s music or art or anything else, all by myself. I also had to avoid too boring and academic aspects so the pupils wouldn’t feel it’s difficult, dull and get a negative idea of it. So I prepared a plasma ball and recorded sounds with electromagnetic pickup microphones so the electronic thing became palpable and audible. Starting with the cool stuff, I then combined games, pictures and jokes as the course proceeded, hoping that Sound Art became rather fun and they’d consider it to be another way of appreciating music or art.”

“Many sound artists present works mainly through live performances or exhibits, attracting immediate attention and getting a sense of achievement as artists. There are certainly many ways to express Sound Art. I chose to express my idea through education, carrying quite heavy speakers and teaching tools. While the content of the course remains the same, I need to refresh it all the time. And I move between art-making and teaching in the countryside by taking special shuttles. The tight schedule and workload proves to be a physical challenge as well. Yet by doing again and again, I came to develop a certain strength……”, Yi Lu recalled. If destiny drove Yi Lu to move away from teaching, she eventually returned to the class after a long run. Thus she consistently got invitations to make workshops. Moreover, Yi Lu further promoted the unfamiliar Sound Art by means of a set of small instruments to draw and make sound. The steady endeavor also earned more resources and recognitions. Then, close friends like Vivy as photographer as well as Gabriele de Seta joined her, added ex-colleague Yi Chun Shen who helped teaching. They use their respective know-how to document and spread Sound Art along with Yi Lu. “Teaching is like performance, the audience’s response becomes a feedback to you.” Yi Lu integrates her teaching background and new media art, fusing theory, practice and games. With the Foundation’s support, she makes efforts to actualize the challenges she aim for, acquiring a special place of her own in the realm of Sound Art.