game of the voice flyer (3).jpg

聲音的遊戲    吳建中× André Van Rensburg

2011, 10.08~10.30

GAME OF THE VOICE 

An Installation by Wu Chien-Chung & André Van Rensburg




寫在展覽之前

    一九九五年我成功的回到自己心中的後花園,找到屬於自我的花朵圖騰。對於曾經失去自我卻迷失的人,能夠再度看見自己的面孔,心理既感到踏實又充滿快樂。十六年來我沿著這條路線,斷斷續續的走,一路上隨機式的紀錄,不設限的嘗試,也許順著材料本身去發展,或是按照自己心中的想法去建構。我不想去分清楚,最後作品到底從哪條路線形成的,也不管作品的結果是抽象或具象,只知道我又走入無人的叢林裡去遊盪了。在叢林中,可能會遇見美麗的風景、樹林,也許有鳥、有魚、有花朵……,每次都可能是不同的驚艷。這次很難得,在林中巧遇音樂工作者--安德烈。我們從不同的路徑走來,卻著迷於相同的花朵。就因為這麼有趣,我帶回了花朵,安德烈則捕捉它的聲音。希望藉著這次Z空間的展出,與大家分享我們在林中所見與所聽的感動。                                                                                                                                                                                                   吳建中  2011年10月於台中

吳建中簡歷

1958  出生於台灣雲林

1981  國立藝專美術科畢業

1993  台中市立文化中心西畫個展

1995  省立台灣美術館(現為國立台灣美術館)現代雕塑個展


                                                             ※※※


My collaboration with Wu Chien Chung started in mid 2010 when I saw an exhibition of his works in a small gallery. I immediately arranged a meeting with him, not with an eye to a collaboration, but simply to meet the man. His work stood out for me because of it's hermetic and darkly personal nature. I also thought that the work was not 'Asian' or 'western' in any concrete sense, it's origin seemed mysterious.

He immediately suggested that we do a project together and over the course of several months and with the aid of many translators we came upon the idea of an installation of music and sculpture, each one being inspired by the other. The Z Gallery was gracious enough to let us host our show there.

In my experience of collaboration with visual artists in the past, the less talk and discussion there is the better. If one needs to dissect and argue every part of the work one is best suited to find a different collaborator or work alone. We never had to discuss the deeper 'meaning' of the work, as it was obvious, and would come to the surface naturally. We both then went ahead separately and would compare notes infrequently. 

My music has always been inspired by the unknown and the 'unheard'. There is a dark and 'sick' twist to my music that I found echoed very well in Wu Chien Chung's sculpture. His choice of materials was the bases for my composition too. Wood, metal and brass. Game of the Voice was written for 4 saxophones, 2 bassoons, clarinet and metal percussion. The percussion set was built out of pieces of scrap metal, very much like Wu's work. 

Because of the abstract and semi-improvisational aspect of my compositions the end result is never totally predictable and therefor always a pleasant surprise to me. During its 50 minute run Game of the Voice has as much silence as actual sound. I find this space and air to be very reflective of 3-dimensional art such as sculpture. The time was strictly notated, but the actual notes and harmonies were not. The instructions to the musicians were to simply play one note for the notated duration and play a different note each time, and to run through the 12 tone chromatic scale, not sticking with any particular key or mode. The musicians were also not allowed to see or hear each other, thereby creating a truly spontaneous and enharmonic chord structure that is never repeated twice. 

For me Game of the Voice is like shouting at the forest in the dark, seemingly futile, but ultimately ecstatic and redeeming.                                                                                                                                                         André Van Rensburg    2011.10


    二○一○年中在一個小畫廊的展覽裡我初遇吳建中的作品,也開啟了這次合作的契機。當下很想與他認識,沒有甚麼合作的想法,純粹只想跟這個人見一面。我想他的作品之所以吸引我,是因為其中有一股隱逸和黑暗的個人特質,同時也因為它們沒有沾染亞洲或西方的地域感,其根源只是神秘。

    他也很快地提議我們一起進行一個計劃,經過了數個月的工作和許多朋友的幫忙翻譯,我們才有了進一步的想法,一個結合音樂和雕塑的裝置展,我們彼此都給了對方靈感。而Z空間也慨然允諾我們一個檔期去實現這樣的展覽。

    根據過去我與視覺藝術家合作的經驗,如果少一些對話與討論,得出的結果往往會更好,如果其中一方需要解析和爭辯作品的每一部分,那麼他最好換個合作對象或者乾脆獨自創作。我和吳從未覺得需要去討論作品的深刻意涵,既然意涵本身已經如此明顯,而且也能自然地浮現出來。因此我們就分頭各做各的,很少交換意見。

    我的音樂總是來自未知和「未聞」。其中更有一種黑暗和「病態扭曲」,也是我在吳建中的雕塑作品中得到很好共鳴的部分。他對材質的選擇也和我的作曲基調異曲同工。木頭、金屬和銅管樂器。〈聲音的遊戲〉一曲是為四支薩克斯風、兩組巴松管、單簧管和金屬打擊樂器而寫。打擊聲響是幾塊由廢鐵構成,與吳建中的作品非常相似。

    由於我作曲方式的抽象和半即興,最後的結果總是無法全然被預期,這對我來說總是一個愉悅的驚奇。在五十分鐘的樂曲進行中,〈聲音的遊戲〉有許多靜默的片段,就像真實的聲響。我發現這個空間和氣氛很能襯托三度空間的作品如雕塑,而時間則嚴格地被標記著,但實際的音和合聲則非如此。我對演奏者的指令僅止於單純地彈奏一個音至標記的長度,然後每次彈不同的音,再將半音音階的十二個調都跑一遍,不在任何一個特定的音高或形態上固著,演奏者也不被允許看著或聽著其他人,如此才能創造出真正的自然流洩和不和諧的和弦結構,也是無法被重複的唯一。

    對我而言,〈聲音的遊戲〉就像在黑暗中對著森林狂吼,看似徒勞,但終究是一次狂喜,也是一場救贖。 (中譯/江敏甄)                                                                                                                                                                                                                                                                   André Van Rensburg    2011.10

André Van Rensburg 簡介
http://en.wikipedia.org/wiki/Andre_van_Rensburg



 

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