≡ 展览海报 Poster of exhibition
? 图像由2019乌镇当代艺术邀请展提供
Image courtesy of 2019 Wuzhen Contemporary Art Exhibition
(Scroll down for English version)
马凌画廊很高兴向大家分享艺术家何子彦和杨嘉辉当前参加的“时间开始了：2019乌镇当代艺术邀请展”。汇聚了来自22个国家的45位艺术家的作品，展览“时间开始了”并非如名所示探讨时间本身，而是从历史的角度出发审视我们所处的时代。何子彦作品《毕达哥拉斯》（2013）和杨嘉辉作品《合成音乐 #1.5》（2019）分别在此次群展中展出。
≡ 杨嘉辉 Samson Young
展览现场 Exhibition view
合成音乐 #1.5 Possible Music #1.5
feat. NESS研究小组与斯蒂芬·摩尔
feat. NESS and Stephan Moore
强化玻璃纤维、16声道声音装置
Reinforced fiberglass, 16-channels sound installation
声音60分钟、循环播放、尺寸可变
Sound on loop, duration 60 min, dimensions variable
? 图像由马凌画廊提供
Image courtesy of Edouard Malingue Gallery
《毕达哥拉斯》是围绕同一个空间、相互呼应的四件不同作品构成的一件装置作品，它为观众创造了一种沈浸式体验，借助面纱和帘布来探索权力、声响和声音的无形和隐蔽性。据说哲学家毕达哥拉斯曾隔着帘子对弟子们讲话，因为这样，他们的注意力就完全集中在他的声音上了。从这个例子出发，具体音乐的先锋皮埃尔·雪佛尔提出了他的“纯声”声音概念，指的是一个人听到，却没有看到其来源的声音。电影声音理论家米歇尔·希翁则将这一概念用于电影中的“画外”音。声音和图像的分离与一系列其他的二元组合相关，比如声音和身体、精神与肉体。这些想法为《毕达哥拉斯》装置提供了出发点，这件作品围绕一系列投射在屏幕上的窗帘展开，屏幕本身其实也是一组自动帘布。帘布背后是一个话筒和包括剧院灯光、风扇在内的一套设备。在装置中穿插的电影片段取自弗里茨·朗的《马布斯博士的遗嘱》（1933）、维克托·弗莱明的《绿野仙踪》（1939）、让-吕克·戈达尔的《阿尔法城》（1965）和斯坦利·库布里克的《2001太空漫游》（1968），这些作品融合了口技、空洞的声音和控制。
≡ 何子彦 Ho Tzu Nyen
展览现场 Exhibition view
毕达哥拉斯 PYTHAGORAS
2013
4频道高清录像、10声道、自动窗帘轨道、电扇、灯光、表演控制系统
4-channel HD video, 10-channel sound, automated curtain track,
fans, lights, and show-control system
33 min 50 sec
? 图像由马凌画廊提供
Image courtesy of Edouard Malingue Gallery
摄影 Photo by: 魏颖 Jo Wei
《合成音乐 #1.5》（2019）是一组现实世界不可能存在的乐器，联同爱丁堡大学NESS研究小组创作而成。通过将参数代入“实体塑模”的算法中，艺术家能够模拟一些违反物理定律的铜管乐器声音：如全长20呎的小号或以温度高达摄氏300度的“气息”来吹奏的号角。每隔四分钟，装置便会自动播放由这组超现实虚拟乐器所演奏的短篇乐曲。这些作品大部分是参照“军号声” --- 在军营或战场上用以传达行动讯息的短音（通常以小号奏出）。一小时内可以听到14中不同的“军号声”。
≡ 杨嘉辉 Samson Young
展览现场 Exhibition view
合成音乐 #1.5 Possible Music #1.5
feat. NESS研究小组与斯蒂芬·摩尔
feat. NESS and Stephan Moore
强化玻璃纤维、16声道声音装置
Reinforced fiberglass, 16-channels sound installation
声音60分钟、循环播放、尺寸可变
Sound on loop, duration 60 min, dimensions variable
? 图像由马凌画廊提供
Image courtesy of Edouard Malingue Gallery
Edouard Malingue Gallery is delighted to share that Ho Tzu Nyen and Samson Young are presenting at "Now Is the Time: 2019 The Wuzhen Contemporary Art Exhibition". This edition brings together artworks by 45 artists from 22 countries around the world to Wuzhen. "Now Is the Time" does not discuss time itself while it looks at the direction of our era from a larger historical perspective. On view is Ho Tzu Nyen’s PYTHAGORAS (2013) and Samson Young’s Possible Music #1.5 (2019).
≡ 何子彦 Ho Tzu Nyen
展览现场 Exhibition view
毕达哥拉斯 PYTHAGORAS
2013
4频道高清录像、10声道、自动窗帘轨道、电扇、灯光、表演控制系统
4-channel HD video, 10-channel sound, automated curtain track,
fans, lights, and show-control system
33 min 50 sec
? 图像由马凌画廊提供
Image courtesy of Edouard Malingue Gallery
摄影 Photo by: 魏颖 Jo Wei
An installation that centres on four different works that react to one another in a single space, Ho Tzu Nyen's PYTHAGORAS(2013) creates an immersive experience for audiences to explore the concept of the unseen and the concealment of power, sound or the voice through the nations of veils and curtains. The philosopher Pythagoras was said to have spoken to his disciples from behind a veil, so that their concentration is entirely focused on his voice. From this example, the Musique concrete pioneer Pierre Schaeffer developed his idea of "accousmatic" sound, referring to the sound one hears without seeing on originating cause. The film sound theorist Michel Chion in turn applies this concept to "off-screen" sound in the cinema. This separation of sound and image also relates to a series of other binaries, such as that between the voice and body, the spirit and the flesh. This field of ideas provide the starting point for PYTHAGORAS (2013), which revolves around a series of curtains projected upon a screen, which is itseld a pair of automated curtains. Behind the curtains is a speaker, as well as an assembly of machines including theatrical lights and fans. Making guest appearances in the installation are footage from a collection of films such as Fritz Lang's The Testament of Dr Mabuse (1933), Victor Fleming's Wizard of Oz (1939), Jean-Luc Godard's Alphaville (1965), and Stanley Kubrick's Space Odyssey (1968) where the ventriloquism, disembodied voices and control are enmeshed.
≡ 何子彦 Ho Tzu Nyen
展览现场 Exhibition view
毕达哥拉斯 PYTHAGORAS
2013
4频道高清录像、10声道、自动窗帘轨道、电扇、灯光、表演控制系统
4-channel HD video, 10-channel sound, automated curtain track,
fans, lights, and show-control system
33 min 50 sec
? 图像由马凌画廊提供
Image courtesy of Edouard Malingue Gallery
摄影 Photo by: 魏颖 Jo Wei
Possible Music #1.5 (feat. NESS & Stephan Moore) features virtual musical instruments that are impossible to exist in the real world, developed in collaboration with the NESS (Next Generation Sound Synthesis) research group at the University of Edinburgh. By feeding parameters into a "physical model" algorithm, the artist was able to simulate sounds that would be made by brass instruments that defy the laws of physics: a 20-foot long trumpet, or a bugle that operates when blown into with breath at 300℃. At every fourth minute, a short composition performed by these impossible virtual instruments will be triggered. These compositions make strong reference to military "signal calls" - short tunes (typically performed on the trumpet) that announce changes in daily routines in a military camp or on a battlefield. 14 different "signal calls" can be heard within one hour.
≡ 杨嘉辉 Samson Young
展览现场 Exhibition view
合成音乐 #1.5 Possible Music #1.5
feat. NESS研究小组与斯蒂芬·摩尔
feat. NESS and Stephan Moore
强化玻璃纤维、16声道声音装置
Reinforced fiberglass, 16-channels sound installation
声音60分钟、循环播放、尺寸可变
Sound on loop, duration 60 min, dimensions variable
? 图像由马凌画廊提供
Image courtesy of Edouard Malingue Gallery
艺术家简介 About the artist
何子彦 Ho Tzu Nyen
通过戏剧性的乐谱和光效来呈现大量的历史参照是何子彦（1976年生于新加坡）创作录像和装置作品的主要手法。各不相同的录像作品向人们揭示鲜为人知的东南亚历史的同时，也在指出我们自身并未察觉的未知。何的作品脉络参考一系列文学、艺术史和音乐的文献，一种被扩大强化的模糊、戏剧性和不安的感受充斥于其中。何借由身心两方面来调动观众多种感知，并促使其思考那些我们已知的和更为重要的未知。
何子彦曾在世界多地举办个展，包括汉堡艺术协会（2018）、上海明当代美术馆（2018）、横滨表演艺术论坛（2018）、香港亚洲艺术文献库（2017）、东京森美术馆（2012）、悉尼艺术空间（2011）、阿德莱德南澳大利亚当代艺术中心（2010）。此外，何曾代表新加坡参加2011年第54届威尼斯双年展。其群展包括第12届光州双年展（2018）、新加坡国家美术馆（2018）、达卡艺术峰会（2018）、柏林世界文化宫（2017）、纽约古根海姆博物馆（2016）、布里斯班现代美术馆（2016）、毕尔巴鄂古根海姆博物馆（2015）、广州时代美术馆（2013）和鹿特丹维特·德维茨当代艺术中心（2012）等。其还曾多次参加国际电影节，包括美国帕克城举行的2012年圣丹斯电影节、2009年第66届威尼斯国际电影节和2009年第41届法国戛纳国际电影节导演双周单元。何还曾于2017年完成香港亚洲艺术文献库的艺术家驻留项目。
?图片由ArtReview Asia提供
Image courtesy of ArtReview Asia
摄影 Photo by: Matthew Teo
A plethora of historical references dramatised by musical scores and allegorical lighting make up the pillars of Ho Tzu Nyen’s (b. 1976, Singapore) complex practice that primarily constitutes video and installation. Features in their own right, each film unravels unspoken layers of Southeast Asian history whilst equally pointing to our own personal unknowns. Permeating Ho’s work is a pervasive sense of ambiguity, theatricality and unease, augmented by a series of deliberate literary, art historical and musical references. Centrally, Ho charges the viewer emotionally and physically to deliver a multisensory consideration of what we know and crucially, do not.
Ho Tzu Nyen has been widely exhibited with solo exhibitions at Kunstverein, Hamburg (2018); McaM, Shanghai (2018); Asia Art Archive, Hong Kong (2017); Mori Art Museum, Tokyo (2012); Contemporary Art Centre of South Australia, Adelaide (2010); Artspace, Sydney (2011); Substation Gallery, Singapore (2003). Furthermore, he represented Singapore at the 54th Venice Biennale (2011). Important group exhibitions include Guggenheim Museum, Bilbao (2015); Guggenheim Museum, New York (2013); Autonomous Zones, Times Museum, Guangzhou, China (2013); Surplus Authors, Witte de With, Rotterdam (2012); transmediale.11, Haus der Kulturen der Welt, Berlin (2011); No Soul for Sale, Tate Modern, London (2010); Asia Pacific Triennial, Queensland Art Gallery, Brisbane (2009); Thermocline of Art: New Asian Waves, ZKM Center for Art and Media, Karlsruhe (2007); Video Killed the Painting Star, Contemporary Center of Art, Glasgow (2007); Singapore Biennial (2006). He has participated in numerous international film festivals including the Sundance Film Festival in Park City, Utah (2012); 66th Venice International Film Festival (2009); 41st Directors’ Fortnight at the Cannes International Film Festival in France (2009). Ho has furthermore held a residency at Asia Art Archive (2017).
杨嘉辉 Samson Young
杨嘉辉是广受认可的作曲家、声音艺术和媒体艺术家。他拥有普林斯顿大学音乐博士（作曲）学位（2013），并代表香港参加2017年第57届威尼斯双年展。此外，他曾在世界各地举办个展，包括香港视觉艺术中心、温哥华亚洲当代艺术国际中心（Centre A）、德国杜塞尔多夫美术馆、曼彻斯特华人当代艺术中心（CFCCA）、香港M+展亭和广岛市现代美术馆等。群展包括纽约古根海姆美术馆、悉尼双年展、大阪国立国际美术馆、首尔MMCA国立现代美术馆和卡塞尔文献展之卡塞尔电台广播等等。杨嘉辉是多个乐队的成员，并和世界各地乐团合作。他也参加多个艺术节，并获得多个奖项，包括2015年宝马艺术之旅奖项和2018年香港艺术中心艺术荣誉奖。其他奖项包括香港艺术发展局的年度最佳艺术家奖（2013）、奥地利媒体艺术节电子艺术大奖（2012）、彭博新一代艺术奖（2007）。
? 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery
and the artist
Multi-disciplinary artist Samson Young was trained as a composer, and graduated with a Ph.D. in Music Composition from Princeton University in 2013. Young has had solo exhibitions at Hong Kong Visual Arts Centre, Centre A: Vancouver International Centre for Contemporary Asia Art, the Kunsthalle Düsseldorf, Centre for Contemporary Chinese Art in Manchester, M+ Pavilion in Hong Kong, and Hiroshima City Museum of Contemporary Art, among others. In 2017, he represented Hong Kong at the 57th Venice Biennale. Group exhibitions include Solomon R. Guggenheim Museum, New York; Biennale of Sydney; National Museum of Art, Osaka; National Museum of Modern and Contemporary Art, Seoul; and documenta 14: documenta radio; amongst others. Furthermore, he has participated in multiple festivals, as well as been the recipient of several prizes, including the 2015 BMW Art Journey Award and 2018 Hong Kong Art Centre Honorary Fellowship. Further awards include Artist of the Year (Hong Kong Arts Development Council), Prix Ars Electronica, Bloomberg Emerging Artist Award.
当前展览 CURRENT EXHIBITION:
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香港 Hong Kong 东南亚批判性辞典之八: 小斜方截半立方体 "CDOSEA: R for Rhombicuboctahedron" 何子彦 Ho Tzu Nyen 19.03.27 - 05.17
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上海 Shanghai 没有太阳 “Sans Soleil” 崔新明 Cui Xinming 孙逊 Sun Xun 王之博 Wang Zhibo 袁远 Yuan Yuan 郑州 Zheng Zhou 19.03.23 - 05.05
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