LSF62 所賴以生存的靈光── 談王仲堃與林桂如的音樂擾動

文╱賴駿杰

擅喜改造與製作音響裝置的藝術家王仲堃，這次直接深入古典音樂的核心，直接改造一架直立式鋼琴，並邀請到音樂系出身的跨領域音樂創作者林桂如合作演出。王仲堃在之中的角色並不盡然是一位藝術家，而更像是一位指揮家，與首席鋼琴手聯袂演出，在一個低度預演的類即興表演中，開啟我們對於「音樂」表現的想像。即便藝術家拆解、重新組裝了鋼琴，但他對於聲響發出的路線與方式，並沒有多大的改變，仍然多數仰賴於對基礎結構、樂理知識的擴延與變異。之所以說藝術家更像是指揮家，是因為演奏者所能使用的媒介，基本上已經是被設計過的，與鋼琴結構本身傳統的限制相比，這樣的設計與改造更多地能藉由裝置結構，以及預先設想的材料來貼近表演者，更能說出與聽見彼此的聲音：兩位表演者，以及演奏者與伴其成長的鋼琴。王仲堃在這裡不僅是一位指揮家、表演者，也是一個場控者，有點像是舞台監製——整場表演有著很強的劇場性經驗。

LSF62

    

Lacking Sound Festival Listen 62

2012, August, 17(Fri) ＠noiseKitchen
Entrance Time︱18:30 Starts Punctually At 19:30
Entrance Fee︱NT$.150(with drink)

【LSF Artist-in-Residence Program 2.1】

Opening DJ：HeiYiLiangChuan 

Artist︱Kueiju LIN
Artist︱Chung-Kun WANG

LSF Artist-in-Residence Program Performance Introduction︱
Artists│Kueiju LIN × Chung-Kun WANG
Chung-Kun WANG makes instruments as a way to produce sounds of the future. For this collaboration with Kueiju LIN, they decided to take the interference of instrumental sound making as a point of departure, to explore the familiar yet ambiguous experience from listening to music and sound.

Kueiju LIN played piano according to scores written by the others during her childhood; and composes scores for others to play when turning into an adult. This time, she decided to reconstruct her very first piano, because she wonders, after all these years, what the piano might want to say to her.

Chung-Kun WANG: piano layman, demonstration.
Kueiju LIN: real-time figuring out ways to get along with the piano which isn't totally within her control.

Kueiju LIN ( 林桂如 )

photo by 劉人豪

Artist︱Kueiju LIN 
As a composer, Kueiju Lin enjoys working with acoustic and electroacoustic instruments, sound installations and interdisciplinary collaborations in both theater and dance. She is also an improviser on piano. Her debut album  “Classy Bluster - Improvised Music by Kueiju and Friends” is released in December 2010.

She holds a Bachelor degree in Composition from the Taipei National University of the Arts and a PhD. in Composition from University of California, San Diego.

She has collaborated with Taiwan’s Guo-Guang Opera Company, Taiwan Bangzi Company, M.O.V.E. Theatre Group, Mobius Strit Theatre, Dance Forum, Scarecrow Contemporary Dance Company, theater director Xiao-Ping Lee, Hong-Zheng Fu, choreographer I-Fen Tung, amongst others. In 2009, she was the artist-in-residence in Perth, Australiz, sponsored by the Taipei Art Village, and exhibited her sound installation “listenning to the darkness” (in collaboration with Chris Tonkin) in the Totally Huge New Music Festival. In additions to her involvement in collaborative projects, she has received commissions from La Jolla Symphony and Chrous (U.S.A), Nouvel Ensemble Moderne (Canada), Forum Percussion Ensemble (Taiwan), amongst others. Her music has been performed in concerts and music festivals in Taiwan, Japan, Korea, Israel, Australia, France, Poland, Canada and across the USA.

She is currently the music director of the M.O.V.E. Theater Group (Taipei), the founder of MeiMei Co-op and an adjunct assistant professor at the Taipei Municipal University of Education and the Fu-Jen Catholic University.

Chung-Kun WANG ( 王仲堃 )

photo by 陳藝堂

Artist︱Chung-Kun WANG 
Born in 1982, Taipei-based Chung-Kun WANG works across media art in the development of sound, sculpture, video, kinetic art and installation. He has created various forms of machinery that have consistently maintained an intriguing purity and peculiar sense of beauty. As viewers approach the work these machines operate on their own – making sound, switching on and off, exhaling, spinning or twinkling – each creation with its own variation of rhythm and multiple actions.
e-Mail｜quen1982@gmail.com
Website｜http://wang.iolab.tw

About LSF Artist-in-Residence Program 2︱

I have a close relation with LSF. Since I started to do some sound creation, YAO, as a pioneer, launched a local monthly sound art activity with us. Till now, it has been five years and 61 performances in all, providing an indispensable platform of sound creation in Taiwan and various performances and results.

I'll play a role as a creator in the LSF Artist-in-Residence Program, and will have a conversation about sound art with artists from different fields in August, October and December. And in the performance in December, we'll try to make the audience a part of improvisation on-site. Nowadays, everything is art, thus, we are consider a possibility whether the participation of the audience could be a construction of sound.