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A Duet 二重奏

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艺人: Bivouac Recording
语种: 国语
唱片公司: 独立发行
发行时间: 2019年11月09日
专辑类别: 录音室专辑
专辑风格: 实验音乐 Experimental
A Duet 二重奏

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Bivouac Recording专辑介绍:徐程 x 郑力敏 双个人项目
Xu Cheng and Zheng Limin

“ A Duet 二重奏 ”

策展人:杨蒨
Curator: Qian Yang


开幕时间 Opening:
2019年11月23日 星期六 16:00-19:00pm
展期 Duration:
2019年11月23日-12月25日
地址 Address:
上海市四川中路620号404室

“椅子坐进冬天”,[1]
“一对男子隔着冬天的河岸在说话。” [2]
两杯水,三把椅子,一个空房间。
呼/吸;

“我的亡友在整个冬天使我痛苦”[3]
一对吉他手,背对背绕行,
划破长空——
弦/起;

一对男女,跟随节拍器
南辕北辙,昼夜演奏。
你好,再见!
十二打心跳。




艺术家徐程以三个二重奏作品,回应着《复·刊》——这座位于苏州河畔30年代英国人建造的维多利亚住宅空间的“身体性”,其中也包括他于2018年“对位法”的新变奏版本。它试图构建、再现一对男女利用声音与生活空间形成一种盲目、跟随、猜测、依靠的多重心理关系。“一瓶” (2019)为相识已久的二重奏“没腿的马”而作,它以管乐中最基础的要素“呼吸”形成一种“分享”的节奏感。友谊的分享、循环甚至竞争使得此曲得以进行。而“划痕,三次相遇” (2019)是以乐器和声音直接与空间、与界限的全体接触与试探。对他而言,空间与人的行为构成了这三个二重奏的核心。在这介于私人和公共空间的,生活与艺术相互干涉的特定场域之中所延展出的心理空间使得展览演变成一种行为本身。

郑力敏的创作始于与生活材料(物质或是情境)的相遇。作品“排演”(2019)透过一百米的绳索在空间展开的拓扑学,消解了“一米栏”的日常使用功能。美术馆的策展机制所设置的路障保护了作品的肉身,使之在一定视野范围内被安全凝视,但同时也阻隔了观众的身体与作品的肉身相遇。他从日常实践——瑜伽的体式提取元素,将对绳索的身体体验—折叠、缠绕、束缚、释放,交还给观众。展览的开幕仅仅预示着作品的排演刚刚开始,一如“策展的”(the curatorial)将展览视作研究的起点,而非“作品”布展完成后的终点。

地面的保护膜和粘鼠胶,分别以向外撕扯的阻力和向内保护的延展力,构成了作品“捕捉”(2019)的张力。保护膜以卑微的姿态吸附在地面,远观——它们折射出皮肤般幼滑通透的光泽感,孱弱却坚定。去到近处,才发现它们布满褶皱的肌理里面,吸附着徐程“划痕,三次相遇” (2019)作品所残留下的粉尘。一旁“流动”的粘鼠板胶液如无尽的欲望等待即将被捕获的生活痕迹。在这堵唯一被禁止打钉的展墙前,烟囱——如一只壁虎被封存在墙内。我们由此可以联想到水和石油在海中的浮游关系,跨大西洋的黑奴贸易,以及现代工厂处理焚化尸体后所排出的浓烟滚滚。


作品“控制”(2019)延续了其对呼吸方法的研究。本次展览中,郑力敏通过与两位亲密女性的对话,展开家庭空间与婚姻联盟之间的叙事。艺术家对于通过婚姻的联盟生产家庭空间,或通过家庭空间的建构缔造婚姻的优先次序,提出质疑。他在现场用猪油覆盖扬声器的行为,如同“脂肪”被身体吸纳。两位女声互相叠加后,渐渐消解的声音共振,吐出语言/方言的同时,也再现了家庭居住空间与婚姻(法)之间的复杂关系。


回到《复·刊》的身体,这栋建于1926年的上海英租界的老公寓依旧散发着浓厚的后殖民基因。居于后窗而远眺,交织出现在我们眼前的是违章搭建起的裙楼,被政府回收的银行公会大楼旧址,东方明珠,与拔地而起的洛克外滩源二期工地。它面朝四川中路,左邻北京东路与虎丘路20号——外滩美术馆之间,右舍南苏州路和香港路59号——BANK画廊旧址。隔岸是位于苏州河北堍的四川中路桥,通往邮政局大楼。与之平行、绵延展开的分别是三座桥: 河南路桥、乍浦路桥、外白渡桥。



有一条河流,流过空间和时间,如同绳索,在我们的身体记忆中萦绕,从而打下一个结。穿越时空的河流承载着一座城市的光荣与梦想(Hope and Glory),也盘踞、根植于它的城市记忆中。“河岸、冬天、相遇”,构成了本次展览的主要线索。而声音和行为,互相介入/彼此干预的进程,在两间对称的客厅与卧室展开,如词性的阴性和阳性在空间谱写出二重奏。


艺术家简介





徐 程(b. 1980),生活在上海的声音艺术家,声音活动实践者与组织者。他涉足实验音乐、自由即兴、电子音乐等多个领域。于声音的本体论外,徐程也关注着声音与社会空间的相互关系与其相关行为与显现方式。



声音艺术/电子音乐厂牌”Play rec"主理人之一、“朗/读”——一个艺术场馆外的系列声音实践活动的发起与策划者之一。 他自2005年发起Noishanghai计划,推广实验音乐与噪音。曾是中国极端噪音团体Torturing Nurse成员,并参与或组建the Mustangs in Social Modulator、Shanghai Quintet及Consciousness feedback group等多个实验及即兴团体。Ars Electronica 2012年“声音艺术与电子音乐组”获奖者。其作品以视听表演、装置、音乐、剧场等多种形式呈现。

郑力敏(b. 1992),生活、工作于上海。2016年介入上海双年展“51人”项目。曾参加过“炽热”(2019,上海);“生肉笔记·第二回”(2018,上海);“藏身之所”(2017,杭州);“皮埃尔·梅纳尔学院”(2017,上海);“局部档案”(2017,上海)等群展。2018年5月于马丁·戈雅生意实施个人项目“在里面”。曾与上海外滩美术馆、(工作坊:“niao niao早会:还原”,2019,上海)。JNBY HOME(表演项目:“穿睡衣的调香师”,2019,上海)等机构合作。


他的实践持续关注着呼吸系统与能量消耗之间的关联。




“A chair sits in the winter,”
“Two men speak to each other across the winter bank.”
Two cups of water, three chairs, an empty room.
Breathing.

“I mourn for a friend throughout the winter,”
Two guitarists detour back to back,
Scratching the track—
Trembling.

Follow the metronome, a man and woman
Walk in opposite, performing day and night.
Hello and Goodbye!
Ticktacking.




The artist Xu Cheng gives three duet performances in response to the “physicality” of FU | KAN, a Victorian residential space built by the British along the Suzhou Creek in the 1930s, which includes the latest version of “Counterpoint” in 2018. It attempts to construct and reproduce the multiple psychological relationship of blindness, pursuit, speculation and dependence, which are built by a man and a woman with sound and living space. A Bottle 2019 is composed for the familiar band MTDM (the legless horses) of yesterday. It produces the rhythm of “sharing” in “breathing”, the most fundamental element of pipe music. The music grooves with the sharing, circulation and even competition of friendship. Yet the work Scratches, Three Encounters (2019) enables the instrument and sound to contact, feel the space and boundary thoroughly. For Xu Cheng, the core of the three duets lies in spaces and human actions. A special domain falls between private and public spaces, and it’s featured by the interdependency of life and art. The psychological space that derives from this special domain turns the exhibition into human behaviors.


Inspired by the encounter with everyday-life materials (substances or situations), Zheng Limin’s Rehearsal (2019) vanishes the use value of the “one-meter bar” through the topology of the one-hundred-meter knots that expand in spaces. The flesh of the artwork is protected by the museum’s roadblocks, and it is viewed safely within a certain field of vision. However, the viewers’ bodies are unable to encounter the flesh of the artwork. In light of the asanas of Yoga, he gives the physical experience of the knots back to the viewers, which includes folding, twining, bounding, and releasing. The opening of the exhibition only signals the beginning of the rehearsal, just as the “curatorial” views the exhibition as the starting point of research rather than the finale of the installation of ready-made objects.

The ground cover membrane and mouse glue traps highlight the tension inherent in the artwork, demonstrating the resistance in outward avulsion and the extensibility in inward protection respectively. At a distance, the humble membrane on the ground seems to have a glossy, skin-like surface, fragile yet sturdy. If we look closer, the remaining dust of Xu Cheng’s Scratches, Three Encounters (2019) attaches to the wrinkled inside of the membrane. Beside it, the glue of the mouse trap, which “flows” like infinite desires, awaits the to-be-caught vestiges of life. Standing in front of the only wall that “forbids nailing”, we will see a chimney which is sealed in it like a gecko. Our meditation would then drift to the water and the floating oil in oceans, the Atlantic slave trade, and the dense smoke emitted by modern factories after incinerating dead bodies.



The artwork Controlled (2019) continues to probe into the study of breathing. In this exhibition, Zheng Limin allows the narrative of family spaces and matrimonial alliance to unfold through his conversation with two intimate women. The artist quests the priority between the production of family spaces through matrimonial alliance and the marriage through constructing family spaces. He covers the speaker with lard in the same way as “fat” is absorbed by the body. Two women’s voices overlap and the fading sounds resonate, reproducing the complex relationship between the domestic space and marriage (law) while speaking language/dialects.

Back into the physical body of FU | KAN, the old-fashioned apartment building constructed in the 1926 British Concession in Shanghai still exudes the context of postcolonialism. Looking from the rear window, there is a stunning view of illegally-built podiums, the former building of The Shanghai Chinese Banking Association which is resumed by the government, the Oriental Pearl Tower, and the burgeoning construction site of ROCKBUND. It faces Middle Sichuan Road, embraces East Beijing Road and No. 20 Huqiu Road (Rockbund Art Museum) on the left, and adjoins South Suzhou Road and No. 59 Hong Kong Road (the former site of BANK Gallery) on the right. The Middle Sichuan Road Bridge at the northern ramp of the Suzhou Creek sits on the other side, and it leads to the Post Office Building. The bridge runs parallel to three bridges: the Henan Road Bridge, the Zhapu Road Bridge, and the Waibaidu Bridge.



A river flows into space and time like a rope and lingers in our body memories, and thus it ties a knot. The river that runs through space and time is the container of a city’s hope and glory, and it is also deeply rooted in its city memory. This exhibition is permeated with the clues of “Riverbank, Winter, Encounter”. In the symmetrical living room and bedroom, a spatial duet is composed on-site with sound, action and mutual interference, just like the masculine-feminine division in linguistics.

Artist bio



Born in 1980, Xu Cheng is a sound artist based in Shanghai and a practitioner and organizer of sound activities. He dabbles in experimental music, improvisation, electronic music and so forth. Apart from the music ontology, Xu is also interested in the interaction between sound and social spaces and its behaviors and manifestations.



He is the co-founder of Chinese sound-art/electronic music label “play rec”, and the organizer of “Read/Aloud”, a practice program of sound/music outside of museums. He has been the organizer of the NOIShanghai event from 2005 to promote experimental music and noise. He is the former member of the Chinese noise group “Torturing Nurse”, and has participated in a myriad of experimental/free improvise groups, including “the Mustangs in Social Modulator,” “Shanghai Quintet,” “Consciousness Feedback Group”. As a prize winner of the 2012 Prix Ars Electronica in digital music & sound art depart. Xu works with varied forms of sound art: installations, experimental music, performances, and theatre.


Born in 1992, Zheng Limin is a Shanghai-based artist. He was one of the “51 Personae” in the 2016 Shanghai Biennale. He participated in multiple group exhibitions, including “Incandescence” (2019, Shanghai), “Notes On Raw Meat II” (2018, Shanghai), “The Den” (2017, Shanghai), “Pierre Menard Academy” (2017, Shanghai), “Partial Archives” (2017, Shanghai). He did his first solo project “Zlm” in Martin Goya Business in May, 2018. He also collaborated with institutes like Shanghai Rockbund Art Museum (workshop: “Niao-Niao Morning Call”, 2019, Shanghai) and JNBY HOME (performance: “Cap-Soul Recipe: Uplift Mood”, 2019, Shanghai).

His practices consistently focus on the correlation of the respiratory system and energy consumption.
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