表演

噪集2019──無主之島

實驗音樂團體 FEN 的四位成員分別來自亞洲四個國家:中國、南韓、日本和新加坡,在地緣政治劃出的非理性空間中遊走,將自身處境轉化為當代文化實驗的材料。「每個人都 ( 不 ) 是一座孤島」的說法,伴隨著他們逐漸擴展的社會網絡(或只是無數的空白和漏洞?)。藝術家和音樂家在主流世界的邊境相遇, 塑造出一個個不同於海洋或島嶼模型的臨時世界。這是眾聲的舞臺,也是眾人的曼陀羅。

兩場演出內容不同:第一晚 FEN 的四位團員將與八位臺灣樂手一起表演。他們會組合成不同的搭檔,二重奏、三重奏、四重奏……像是自然界此起彼落的運動、漫無目的變遷。第二晚將由藝術家許家維關於馬祖外海一座廟宇的錄像作品《鐵甲元帥─龜島》與《鐵甲元帥-靖思村》開場,之後南管藝術家黃俊利將與 FEN 一起演奏。最後 FEN 會和臺灣電影界擬音大師胡定一合作,進行一場想像的聲音敘事──擬仿或本真的兩種不同聲音現實,將在此相遇。

本活動由空總臺灣當代文化實驗場、臺北表演藝術中心合作主辦,為「2019臺北藝術節── I (do not) Belong To You 我們(沒)有認同 」節目之一。

No One’s Island is the title of an upcoming album that FEN is going to release under the Russian label, Mikroton Recordings. Four Asian musicians move in the irrational space determined by geopolitics, giving themselves as materials for experiments in contemporary culture. The idea that “no one is (not) an island” accompanies them in the development of an expanded social network (or rather that of countless vacancies and loopholes?). Artists and musicians meet at the periphery of the mainstream world, forming temporary alternatives that are different from the models of ocean and island. This is a stage for the various voices of people, and a mandala for us all.

On the first night, FEN will perform with 8 Taiwanese musicians in different combinations, as duos, trios, quartets…like the aimless flow of movement and changes in nature. The second night will start with artist Hsu Chia-Wei’s video artworks, Marshal Tie Jia – Turtle Island and Marshal Tie Jia – Jingsi Village, followed by FEN’s performance with Nanguan musician Huang Chun-Li, and closes with the collaboration with foley artist Hu Ding-Yi in a fictive sound narrative: a speculative encounter between the reality of simulated sounds and the physical reality of sounds themselves.

Day 1: FEN will co-exist with 8 Taiwanese musicians in different combinations, not unlike an aimless flow of mobility and changes in nature.

Day 2: A screening of Hsu Chia-Wei’s documentary Marshal Tie Jia – Turtle Island and Marshal Tie Jia – Jingsi Village, followed by FEN’s interlocution with Nanguan musician Huang Chun-Li and foley artist Hu Ding-Yi.

This event is co-organized by Taiwan Contemporary Culture Lab (C-LAB) and Taipei Performing Arts Center (TPAC), as part of the 2019 Taipei Arts Festival “I (do not) Belong To You.”

節目場次:

8.28 (三) 19:30
8.29 (四) 19:30

注意事項:

● 採事先現場索票,一人一票,憑票入場(建議觀賞年齡12歲以上)
● 採遊走式觀賞,無座席,遲到或中途離席,須配合前台人員安排入場
● 本演出有高低頻之巨大聲響和閃燈,孕婦或身體不適者,請斟酌入場
● 場內禁止飲食。禁止以閃光燈拍照與錄影

索票辦法:
● 8.24(六)至 8.27(二),每日12:00 – 18:00開放索票,索完為止。
索票地點:空總臺灣當代文化實驗場 工作坊一樓 (i-Center)(台北市大安區建國南路一段177號)
● 票券索畢之場次,將於臺北藝術節官網、空總臺灣當代文化實驗場(C-LAB)官網及臉書粉絲專頁公佈
● 每人每場限索2張,不得重複領取
● 索票排隊動線依現場告示及工作人員指引
● 演出當天19:00提供限量當日票券,於C-LAB「中正堂展演空間」索票
● 演出當天19:00開放驗票入場,19:30演出開始,請勿遲到
● 開演後,若場內尚有空位,開放無票者候補,由工作人員視狀況引導入場 (若人數達上限,則無法入場)
● 票券遺失,恕不補發,請妥善保管
● 洽詢專線:C-LAB 02-8773-5087分機206 (服務時間:週一至週五10:00 – 18:00)
Dates:
8.28 (Wed) 19:30
8.29 (Thu) 19:30
Notice:
– Free admission but every participant needs to sign up for a ticket (suitable for 12 and above). To sign up, please contact C-LAB 02-8773-5087.
– Audience can move around while watching. There is no seating arrangement. Latecomers and re-entry subject to discretion.
– May contain loud sounds and flashing lights. No flash, food or drink.
Ticket Information:
– Tickets are available from 8.24 (Sat) to 8.27 (Tue) between 12:00-18:00 until the tickets are all taken. Events run out of ticket will be posted on to the homepage of Taipei Arts Festival as well as the homepage and the Facebook fan page of C-LAB
Box Office’s Location: i Center of C-LAB
(No. 177, Section 1, Jianguo South Road, Daan District, Taipei)
– Each person shall only apply for 2 tickets for each event. Repeated application is not allowed
– Queuing Information will be released by announcement and staffs’ instructions on the spot
Late-released tickets will be available at 19:00 on the day of the performance at Chung Cheng Auditorium of C-LAB
– Entry starts at 19:00 and the performance starts at 19:30. Please be punctual
– If vacancies exist after the start of the performance, the audience on the waiting list will be led in to the auditorium by staffs. (If the auditorium is full, there will be no entry for the audience on the waiting list.)
– No reissue shall be done for lost tickets
– Please call C-LAB on 02-8773-5087#206 for more information. (Open hours: weekdays, 10:00-18:00)

藝術家 Artists ||

FEN – Far East Network

FEN是一個即興的音樂四重奏組合,由大友良英(日本)、袁志偉(新加坡)、顏峻(中國)和柳漢吉(韓國)於2008年在法國馬賽成立,團名為Far East Network(遠東網絡)的縮寫。他們成立的目的並非為了追求特定形式的音樂美學,而是為了發展和深化亞洲的即興音樂網絡。FEN的音樂被形容為噪音、隨機發生、搖滾、爵士樂之類的組合,從不事先溝通或彩排,即興而嚴謹,每個成員都可以自由的選擇樂器和表演方式。此外,他們在電子音樂、視覺藝術、表演、文學、策展和出版等領域,都有積極和卓越的表現。

FEN is an improvised music quartet. Comprising Otomo Yoshihide (Japan), Yuen Chee-Wai (Singapore), Yan Jun (China) and Ryu Hankil (Korea), FEN was formed in 2008 in Marseille. The initial intent of forming FEN was not based on a particular pursuit of any specific form of musical aesthetic, but rather to develop and deepen the improvised music networks of Asia.The music of FEN has been described as a combination of noise, random occurrences, rock, jazz and the likes, in an improvisational rigour without any prior communicated agreement. Each member is free to change and choose their musical instrument and methodology of performance.

日本|大友良英(Otomo Yoshihide / Japan)

1959年生於日本橫濱、在福島度過青少年時期的大友良英是吉他手、唱盤藝術家、作曲家、電影配樂者。作為獨立藝術家,他持續創作風格殊異的樂曲,包括即興、噪音與流行音樂,傑出的音樂創作遍及全球。他也是成功的影視音樂作曲家,已經為70餘部影視作品配樂。近年來,他與跨領域的藝術家以「樂集」(ensembles)之名共同製作獨特的音樂會與音樂作品。此外,他積極投入製作以身障兒童為對象的音樂工作坊。2011年東日本發生大地震後,他聯合各個領域的人發起「福島計畫」(PROJECT FUKUSHIMA!) 。他在音樂圈外的活躍表現,引起廣泛關注。2012年他以「福島計畫」獲得文部科學省頒發藝術獎。2013年他亦獲得多獎肯定,其中包括日本唱片獎,表彰他為電視劇《小海女》所創作的主題曲等各項成就。

Born in 1959 in Yokohama, Japan. Otomo is a guitarist, turntablist, composer, film score composer and record producer. As a teenager, he spent time in Fukushima. Staying independent, he has consistently composed a wide range of music from improvisation to noise music and pop, and his music talent has spread all over the world. He has a successful career as a film score composer and has produced more than 70 movie soundtracks. In recent years, he has produced special type of concerts and musical works in collaboration with other various artists under the name of “ensembles”. In addition, one of his priorities is producing musical workshop projects involving handicapped children. In 2011, after the Great East Japan Earthquake, he started PROJECT FUKUSHIMA! along with people in various sectors. He has been active beyond the music scene and this is the reason that he has attracted a great deal of attention. In 2012, he received the Minister of Education Award for Fine Arts in the category of Promotion for PROJECTFUKUSHIMA! In 2013, he received various prizes including the Japan Record Award for his accomplishments, such as composing the theme music for the TV drama Amachan.

More Info: otomoyoshihide.com

新加坡|袁志偉(Yuen Chee Wai / Singapore)
袁志偉是新加坡聲響音樂家與藝術家,經常受邀於國內外展演。袁志偉對哲學、文學、電影與文化研究有濃厚的興趣,因此其聲響作品經常結合文本的想法與概念,同時處理與記憶、失去與看不見相關的主題。他與日本大友良英、韓國柳漢吉、中國大陸顏峻同為FEN團體的成員,同時參與新加坡前衛實驗搖滾樂團「天文臺」(The Observatory)。

Born in 1975. Musician, artist, designer based in Singapore. Often inspired by ideas drawn from philosophical and literary texts, and perspectives glimpsed through the filmic eye and photographic lens, Yuen’s stylistic oeuvre in improvised music is marked by internalised reflections on memory and loss, invisibility and indeterminacy. In 2008, he teamed with Otomo Yoshihide (Japan), Ryu Hankil (South Korea), and Yan Jun (China) to form FEN (Far East Network). FEN focuses on the continuing multifaceted networks and collaborations between Asian countries. Since its inception in 2014, Yuen is part of Ensembles Asia as Project Director for Asian Music Network, to which he co-curates the annual Asian Meeting Festival (AMF) in Japan. He is also a member of the avant-rock band The Observatory (Singapore), with whom he plays guitar, synth and electronics. With nine albums to date, including the most recent August is the cruellest (2016), The Observatory has also conceived a vanguard of initiatives such as the annual festival Playfreely, which gives artists new creative avenues for performing and working together. Both FEN and The Observatory continue to tour extensively, performing in Europe, America and Asia regularly, and has presented in MIMI Festival, Lausanne Underground Music and Film Festival, All Ears Festival and Ftarri Festival.
More Info: asianmusic-network.com / theobservatory.com.sg

中國|顏峻(Yan Jun / China)

音樂人與詩人,1973年生,現居北京,創作即興和實驗音樂,頻繁在亞洲、歐洲、美洲與澳洲巡演。他的聲音作品、表演和裝置曾在白晝之夜、上海雙年展、卡賽爾文獻展、柏林數位藝術節和路易威登基金會等地展出。顏峻在世界各廠牌發行過數十張專輯,並於林茲電子藝術節獲獎。他曾獲柏林德國學術交流總署、紐約亞洲文化協會及新加坡當代藝術中心的獎助,進行駐村計畫。
詩歌創作方面,顏峻曾參與羅特丹國際詩歌節和柏林國際詩歌節。此外,他發表過十餘本關於音樂的著述、中文散文或詩的創作,並被譯為英、法、德等語言。他是團體FEN以及Tea Rockers Quintet的成員,以及音樂廠牌暨出版社Sub Jam的創辦人。

Born 1973, Yan Jun is a musician and poet based in Beijing. He works on improvised and experimental music. He has been touring and performing extensively over Asia, Europe, America and Australia. His sound works, performances and installations were presented at Nuit Blanche, Shanghai Biennale, Documenta, Transmediale, Louis Vuitton Foundation and more. He has released a few dozens of CDs on labels around the world. He has been awarded in Ars Electronica. He has done residency programs in DAAD Berlin, ACC in New York and CCA in Singapore. As a poet and writer, he has attended the Rotterdam International Poetry Festival and Berlin International Poetry Festival. He has published more than 10 books of writings on music, essays and poetry in Chinese and translations in English, French and German. He is a member of FEN and Tea Rockers Quintet, and
founder of music label/publishing house/organization Sub Jam.
More Info: yanjun.org

韓國|柳漢吉(Ryu Hankil / Korea)

柳漢吉是音樂人,1975年生於首爾。他在創作中透過像是齒輪或打字機等廢棄品尋找另類的音樂結構。在發現了打字機作為樂器的潛力後,他開始了和lo wie以及Taeyong Kim的合作計畫「打字員」(A.Typist)。自2008年參與FEN。2015年起,有別於過去的創作,他開始幾個關於數位合成之虛構面向的創作計畫。他最近的獨立創作包括《社會頻率》(SocioFrequency)和《信封惡魔》(The Envelope Demon – The Quotes of Professor Nak-Jin Paik)。

Ryu Hankil is a musician, born in Seoul, South Korea in 1975. He was interested in finding an alternative musical structure possessed by abandoned objects like clockworks, typewriters. After discovering the instrumental possibilities of a typewriter, he started a collaboration project called A.Typist with lo wie and Taeyong KIM. He has also been a member of FEN (Far East Network) since 2008. From 2015, as a different approach from his past works, he started various projects of fictional aspects of digital synthesis. He premiered his new solo work titledSocioFrequency and The Envelope Demon – The Quotes of Professor Nak-Jin Paik in 2018.

共同演出者 Collabarating Artists

8.28(三) 19:30

臺灣|李俊陽 (Li Jiun-Yang | Taiwan)

生於臺灣臺東,成長於電影看板畫師家庭,學習電影看板繪畫、布袋戲舞台、廟宇彩繪,熟稔佛像、門神及廟宇彩繪的原色與木偶彫刻。作品包括繪畫、木雕、鐵線塑型,大小型裝置、現成物改裝、拾得物重組、塗鴉、現場行為演出、偶戲編製、實驗戲劇,也曾參與電視廣告及戲劇演出,蓋過寺廟。反思臺灣 「美國化的藝術生態導向」的藝術環境,從有形的手工藝人養成背景,以民間文化的無形底蘊,汲出看似隨機卻有脈絡可尋、有土地可依歸的獨特創作風貌。

Born in Taitung, Taiwan, Li Jiun-Yang grew up in a family of movie billboard painters. At a young age, he acquired skills in billboard painting temple art, puppet theatre design, and puppet carving. His work draws on a wide range of media, including painting, wood carving, wire sculpture, installation, performance, graffiti, puppet theater production, and experimental theatre. He is known for appearing in TV commercials and popular theatre programs, and for his single-handed construction of an entire temple! He pursued his own unique path in the arts at a time when American culture was gaining influence over Taiwanese art. Rather than look abroad, he drew inspiration from the local handmade arts to express the intangible ideals of Taiwan’s folk culture.

澳洲、臺灣|奈鳩・布朗(Nigel Brown | Australia/Taiwan)

奈鳩・布朗生於澳洲,於2006年在墨爾本皇家科技大學完成藝術碩士,並於2004年獲媒體藝術學士,專攻聲音藝術。自2004年以來即從事聲音和實驗音樂領域的工作,他通過改造既有的樂器或其他物體以探索聲音的可能性,專注於實質物體的物理實驗發展。其作品通常針對特定地點,利用地方歷史、社會背景、環境場域以及聲學,吸引人們進入專注的聆聽環境。2016年他自澳大利亞墨爾本遷居臺南與張惠笙創立「聽說」工作室,為一促進聽力實踐和實驗音樂的空間。

Nigel Brown has been working in the field of sound and experimental music since 2004. His range of interests have led to working in improvised performance, recording for publication, gallery-based installation, and sound design for dance and theatre. He has performed extensively in Australia, Europe and East Asia in events ranging from festivals to independent gigs. His is focused on exploratory approaches to physical materials; finding unexpected sonic possibilities in existing instruments or other objects. Nigel completed an MFA at RMIT University in 2006, and a Bachelor of Arts (Media Arts) in 2004, specializing in sound.
More info: nigelbrownsound.comtingshuostudio.org

臺灣|洪梓倪(Hung Tzu-Ni | Taiwan)

作品主要聚焦於空間裝置與聲音裝置,藉由裝置探討空間中光線建構與聲音身體交互接合的關係與環境。空間於聲音,聲音於身體,身體於機器,機器於儀式,儀式於詩,詩於空間。試圖在現今社會狀態充滿無意義的勞動之中,建構一個環繞的場景/空間讓聽者進入空幻的狀態把自身與外界隔絕,在當下深切感知思緒與此在。
Space and sound, sound and body, body and machine, machine and ritual, ritual and poetry, poetry and space.
In a social landscape filled to the brim with busy work, Hung Tzu-Ni seeks to create a setting or an environment where a listener or viewer might enter into a dream state, momentarily isolated from the outer world, and in that space be able to more intensely perceive one’s frame of mind & body. Her installations explore the reciprocal relation formed between light as it is constructed and sound as it is embodied in a space, as well as the environments where they are interactively engaged.

臺灣|徐嘉駿(Xu Chia-Chun | Taiwan)

1997年生,於2015年開始以「Berserk」之名進行harsh noise噪音演出及創作,初期以自製樂器產生的大量Feedback和合成器為主,而後開始專注於效果器的 no-input(無輸入)的手法,以大量效果器串接/錯用, 進而在內部產生出一連串多變且難以控制的反饋,並透過大量的破音扭曲放大其音色,受日本噪音、死亡金屬、硬蕊龐克等音樂影響,以高能量、大音量且極具身體性的激烈現場演出聞名。而在2017年,他開始以本名使用no-input的效果器/混音器、短波收音機等媒材,與自由即興樂手或民間譚講者合作。不同於Berserk外放的harsh noise手法,他以本名的創作則更為內斂,雖同樣操縱電子雜訊,但比以往更注重聲音與所在空間、其他樂手以及觀眾的對話關係,以及聲音的細節和層次。除創作者的身分外,他也是新興實驗音樂廠牌MKUltra Productions的主理人,不定期發行臺灣及世界各地噪音與實驗音樂作品,將在地場景與世界連結。

Born in 1997, Xu set out performing and producing harsh noise under the alias “Berserk” since 2015. Initially, he focused on playing rough feedback from handmade instruments and synthesizers before carrying on specializes in no-input effects. Influenced by Japanoise, Death Metal, Hardcore Punk, his live performance is known for highly intense physical energy and massive volume. In 2017, he turned to combining various equipments including no-input pedals/mixer and shortwave radio to session with free improvisation musicians and folk narrator. Different to Berserk’s harsh noise approach, his works as Chia-Chun Xu emphasize more on the interaction between sounds, space, and the others. Besides working on his projects, he also runs the music label, MKUltra Productions, promoting Taiwanese and worldwide noise and experimental musicians.
More info: https://mkultraproduction.bandcamp.com/https://soundcloud.com/jared-xu-berserk

臺灣|廖銘和(Dino | Taiwan)

臺灣1990年代噪音代表人物,曾為知名團體「夾子」樂隊成員。他的創作標識著1990年代後半期臺北噪音運動在技術上走向純類比電子,在內涵上建立獨立美學之里程碑。Dino的電子音響來自於極其簡單的類比器材,不使用合成器、取樣機和其他音源機,而是利用線路雜音、靜電或麥克風回饋建立迴圈迴路,創造其獨樹一幟的音樂。Dino曾於北京迷笛音樂節、倫敦Café OTO、台北數位藝術節等各大音樂節演出,並曾參與實驗電影和小劇場現場配樂製作,曾獲臺北電影節最佳音效獎。Dino對於英倫龐克文化及中國古典文化研究著力甚深,這些影響當可見於其作品之中。Dino is a sound artist and a guqin maker based in Taipei. Once a bassist of the Clippers Band, he is a seminal figure in the second wave of the noise movement in Taiwan during the late-1990s. He uses simple analogue equipment to create electronic sound with no input, which is known as ‘recycle music’, by generating loops from circuitry noise, static, or microphone feedback. In recent years, Dino participates in experimental films and live music production for the theatre. He was awarded Best Sound Effects in Taipei Film Festival (2003).
More info: https://www.youtube.com/watch?v=Wnx6iFy75Yk

臺灣|盧藝(Lu Yi | Taiwan)

噪音藝術家盧藝,自2011年至今與臺灣重要前衛聲音藝術家王福瑞,共同經營「Soundwatch Studio 響相工作室」,除了工作室海內外聲藝展演執行和教育工作坊外,2015年盧藝與法國藝術家共組聲藝團體「Sondes」。她的現場演出包括台北數位藝術節(2015)、混種現場(2014)與(2016)、大內藝術季(2017)、失聲祭100與103、兩廳院30週年派對、臺北白晝之夜(2018)等。

Lu Yi is a noise artist. Since 2011, she and Fujui Wang – who has played a key role in establishing sound art in Taiwan – have been executing projects under the name Soundwatch Studio. Beyond Soundwatch Lu Yi has also been organizing and executing workshops, sharing her knowledge and experience around sound art and electronics with students young and old, within Taiwan and abroad. She also collaborates with French visual artist Sébastien Labrunie under the name Sondes. She has performed at Digital Art Festival 2015, Onsite 2014 and 2016, Taipei Art District Festival 2017, Lacking Sound Festival “Listen 100” and “Listen 103”, NTCH 30th Party “Electric Indigo”, Nuit Blanche Taipei 2018 and etc.

臺灣|Betty Apple(Taiwan)

Betty Apple現居臺北,為臺灣Y世代前衛藝術家,畢業於臺北藝術大學戲劇學系,新媒體藝術研究所,創作受銳舞派對、次文化、前衛劇場、新媒體電影,與後網路藝術影響,以電子音樂創作者、聲音藝術表演者、LiveArt、DJ、藝術RAVE策劃等身份實現「身體政治」之創作理念。近期受邀於新加坡Playfreely音樂節、東京Mutek Japan音樂節、澳洲當代藝術中心Negative Volumes Shining Abyss、墨爾本Polythinking聲音藝術節、亞洲藝術雙年展《道上趴體》、台北雙年展2018《菌絲無線電啟動》、臺北藝術節《噪集》、鄭淑麗+馬修・富勒於空總臺灣當代文化實驗場的《Sleep 79》,並擔任何曉玫舞團《默島新樂園》與2019TIFA 李貞葳《不要臉》音樂設計。

Based in Taipei, Betty Apple comes from a younger generation of avant-garde artists in Taiwan. Graduated from School of Theatre Arts (BA) and New Media Arts (MA), Taipei National University of the Arts. She focuses on live art and sound art, while also engaging in video art, behavioral art, electronic music producing, DJing and art curation, as an expression of her thoughts on body politics. Her work has been invited to Playfreely Festival Singapore, Mutek Japan Festival, Australian Centre for Contemporary Art, Polythinking in Melbourne, Asian Biennale, Taipei Biennale 2018, Taipei Arts Festival and C-LAB. In 2017, she created music for dance company MeimageDance’s New Paradise of Silent Island, and for choreographer Lee, Chen-Wei’s Known Face.

臺灣|Jyun-Ao Caesar(Taiwan)

Jyun-Ao Caesar的音樂靈感來自Eric Cordier與大友良英,或許可以簡略地總結成一種「姚大鈞泛具象音樂論」的創作實踐。他在訊號處理、類比放大與田野錄音的經驗以及他對時空的知識,直接或間接地導致了他的演奏方式。近幾年來尋找著適合與他的吉他互動的機材,這些器材允許他即時地控制變化的參數並佈局聲音的幻象位置,並透過這樣的方式掌握著自己的演奏,在確定性與即興之間取得適當的平衡。

The idea of Jyun-Ao Caesar’s music borrows from both Eric Cordier and Otomo Yoshihide and can be described as an approach toward the composition of Pan-Musique Concrète as proposed by Dajuin Yao. His experience with signal processing, analog amplification, and field recording, as well as his knowledge of space and time led to his adoption of the instrument. He is also a member of Saint Sloth Machine with the impro-percussionist Lala Reich, guitarist Pillof Yau and bassist Weiting Huang. His compositions for the group aim to represent a certain contemplation of humanism and modernity in a non-realist way.
More info:
http://saintslothmachine.wixsite.com/maze,
https://soundcloud.com/carquois42

8.29(四) 19:30

臺灣|胡定一(Hu Ding-YI | Taiwan)

臺灣電影工業中碩果僅存的擬音師,參與電影超過三百部。1975年考進中央電影事業公司(中影)技術組開始擔任擬音與錄音工作。曾任中影的助理技術員、技術員、副技師到技術組長、技術中心副理。曾以電影《稻草人》、《香蕉天堂》、《青春無悔》入圍金馬獎最佳音效,以及電視劇《痞子英雄》入圍金鐘獎最佳音效,並獲54屆金馬獎年度臺灣傑出電影工作者。

In 1975 Hu Ding-yi first came to the Central Motion Picture Corporation as a member of the third class of film technicians. As a foley artist, he has participated in over 300 films, including several that were nominated by Golden Horse Awards for Best Sound Effects, such as Strawman (1987), Banana Paradise (1989), Green Green Leaves of Home (1993). He was awarded Outstanding Taiwanese Filmmaker of the Year by the 54th Taipei Golden Horse Film Festival.

臺灣|黃俊利(Huang Chun-Li | Taiwan)

1998年加入台南市南聲社至今,並多次隨南聲社至泉州、菲律賓、日本等地進行海內外交流演出。精通南管各項樂器、擅長洞簫、二絃的演奏。畢業於國立臺北藝術大學傳統音樂學系碩士班。現任職於國立臺北藝術大學傳統音樂學系兼任講師、臺南市立南寧高級中學南管社社團指導老師、臺南社區大學台江分校講師。

Since 1998, a member of Nanshan Society in Tainan, Taiwan, and toured with the society to Quanzhou (China), Philippines and Japan. Chun-Li specialized in several Nanguan instruments, including xiao (flute) and erxian. Graduated from Dept. of Traditional Music, Taipei National University of the Arts (MA). He is currently teaching in Dept. of Traditional Music, TNUA, Nanguan Society of Nanning Senior High Tainan, and Tainan Community College.

錄像提供 Video Artworks

臺灣|許家維(Hsu Chia-Wei | Taiwan)

現生活與工作於臺灣臺北,2016畢業於法國國立當代藝術工作室。在藝術的實踐上,著力於影像創作背後的行動性,並透過鏡頭以外的事件連結歷史描述所未及的人、物質與地方的關係。舉辦過的個展包括2019年北師美術館、2018年森美術館、2016年臺北鳳甲美術館《回莫村》等。參與過的聯展包括2019年荷蘭國家電影資料館,2018年光州、釜山、上海及雪梨雙年展,2016年台北雙年展等。今年也身兼策展人角色,與何子彥共同策劃2019亞洲藝術雙年展。

Graduated from Le Fresnoy – Studio national des arts contemporains, France, Chia-Wei Hsu stresses specifically on the actionability underneath image creation when comes to the practice of art, while linking up the relationships of humans, materials, and places omitted in the narrative of conventional history through establishing the incidents beyond the camera. Hsu has thrown solo exhibitions including MoNTUE, Taipei, Taiwan (2019), Mori Art Museum, Tokyo, Japan (2018), Industrial Research Institute of Taiwan Governor-General’s Office at Liang Gallery, Taipei, Taiwan (2017), Huai Mo Village at Hong-Gah Museum, Taipei, Taiwan (2016) that was recognized by the Annual Grand Prize of the 15th Taishin Arts Award, Huai Mo Village Project at Art Basel, Hong Kong Convention and Exhibition Centre, Hong Kong, China (2016), and Position 2 at Van Abbemuseum, Eindhoven, Netherlands (2015). He has participated in exhibitions such as Eye Filmmuseum, Amsterdam, Netherlands (2019), Biennial at Shanghai, Gwangju, Busan and Sydney (2018), 2 or 3 Tigers at Haus der Kulturen der Welt, Berlin, Germany (2017), Taipei Biennial at Taipei Fine Arts Museum, Taipei, Taiwan (2016), HUGO BOSS Asia Art at Rockbund Art Museum, Shanghai, China (2013), and The 55th International Art Exhibition – la Biennale di Venezia: This is not a Taiwan Pavilion at Palazzo Ducale, Venice, Italy (2013). He is also the curator of Taiwan International Video Art Exhibition at Hong-Gah Museum, Taipei, Taiwan (2018) and THAITAI: A Measure of Understanding at Bangkok Art and Culture Centre, Bangkok, Thailand (2012). He’s currently co-curate the 2019 Asian Art Biennial with Ho Tzu-Nyen.

舞臺裝置設計 Scenographer

加拿大/泰國/臺灣 | 利安‧摩根 (Liam Morgan | Canada/Thailand/Taiwan)

時間&日期

2019/08/28(三)19:30、2019/08/29(四) 19:30

場地位置