Artist︱ Dawang Yingfan Huang
Living in the oppressive and erupting 1990s, in which stock market plunges seriously, Dawang Yingfan Huang chooses to stay in the room, taking recording sound as his own way of self-healing. He acts like this for twenty years. After being called as “black wolf” as an abbreviation for “the wolf of dark campus folksongs”, he distributed hundreds of diversely stylistic songs, taking part in compiled albums from home to abroad, and gradually form three styles of improvisation, electronic noises and Nakasi. Being in Japan for over five years, returning home on 2010, Huang not only collaborated with harsh noise performer You-Sheng Chang for many times, developing improvisation in Taiwan, but he also, at the same year, started an original sound performance Minkoku Hyakunen with Chang, deconstructing, through the form of the theater of absurd and the method of materialism, the “interdisciplinary” idea which prevailing Taiwanese art performance field. ”Yingfan's Black Wolf Nagashi” conveys the powerlessness toward selves and the environment, by way of simple establishment, deriving different themes according to the different occasions. Noise and improvisation are immediate performance, which function very well at the interdisciplinary performance of modern dance and music improvisation “Sound Creating”. The Black Wolf’s life is best described as noise.
About LSF Artist-in-Residence Program
I begun to relate myself to LSF in the end of spring of 2010, when I met Chung-Han Yao as if we had have known each other for many years, It was then I watch some performances of LSF, in which I applied myself to participate, and went on stage to perform on mid-July. In 2011, I finally realized my position in the field of sound art, therefore, I viewed differently when I decided to embark Noise and Minkoku Hyakunen. Though there is no innovative idea within them, they are still enough to surprise the audience, and it is what I concern more. I hope, during the period of residing in LSF, that I can act as a listener, and when I issue some questions, I hope the audience can think for the sake of the other group of players.
LSF Artist-in-Residence Program Performance Introduction
Art is not always that great,
only when people dance with dawn.
I am a quiet coelacanth,
having lurked, since 12,000 years, in the deep part of your memory.
Sweet berries stand no hurt,
operating skills are in a prominent position,
to a sophisticated person, there’s nothing new under the sun.
There’s no need to realize how the next generation pushes the last behind.
The cells split up with geometric series,
only does the voice make us resounding,
till the infinity.
Tonight,
let all notes and noises melt.
e-Mail｜yingfantw@gmail.com
Website｜http://www.facebook.com/yingfan
駐祭藝術家︱ 黃大旺
在台灣後蔣經國時代壓抑爆發與股市狂跌的環境中，選擇以臥室錄音作為自我療傷的方式至今，不知不覺已超過20年。當發表作品的名義「黑暗校園民歌之狼」被簡稱為「黑狼」之後，便陸續在網路上發表數百首不同風格曲子，參加數張海內外合輯，並慢慢凝結出即興演奏、電子噪音與那卡西三種路線。赴日闖蕩五年半後於2010年返台，不僅與粗暴噪音演奏者張又升(ex. 貓耳朵、再見!奈央!等)多次合作演出，開拓台灣的自由即興場景，也於同年底與張展開原音演奏「民国百年」，透過荒謬劇形式與唯物的研究方法，徹底解構台灣表演藝術圈方興未艾的「跨界」概念，並以素人的身份受邀登台演出，成功爆破台北爵士迷對跨界融合的遐想。「黑狼那卡西」則以最簡單的編制(歌唱口白與mp3播放器)表達出對自己與周遭環境的無力感，並衍生出起雲、雲端、蹦蹦、萌男、烏秋派、有問題等因應不同場合的主題。噪音與即興則是與如開機程式般隨機出廠的預設功能，在2010年現代舞與音樂即興的跨界表演節目「造音」上，發揮了絕大的功用。人生即噪音，或許就是黑狼一生的最佳寫照。
關於駐祭計畫
我與失聲祭的緣份始於2010年春末，當時跟姚仲涵一見如故，也去看了幾場失聲祭表演，最後自告奮勇報名參加，並於七月中登場表演。2011年終於知道自己在聲音藝術領域中的位置，所以決定在弄噪音跟弄民国百年，都會有不一樣的切入點。固然沒有令人感到新穎的點子，卻能製造讓人眼睛(耳朵吧？)一亮的效果，這是我比較關心的部分。我希望在駐祭期間扮演一個聆聽者的角色，當我開口時提出的問題，我希望觀眾可以一起幫另一組樂手想一想。
駐祭演出簡介
藝術並非總是那麼偉大
只有人跟著晨光起舞
我像一隻沉靜的腔棘魚
從1萬2千年前就潛伏在你記憶的深處
就算甜莓也經不起重創
技術操作高高在上
曾經滄海難為水
無需釐清後浪怎麼推前浪
細胞以等比級數緩慢分裂
唯有聲音使我們高亢
直到永遠
今夜
就讓音符與所有的雜音全部融解
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