困難的風景:聲音製圖學

等候廳是進入劇場的調適空間。在這裡觀眾脫掉大衣、放下行李,默認他們接下來將遵守劇場的協議,靜坐守候、或者投身參與,這個空間也暗示劇場得以對觀眾的身體進行操作的空間。

策展人郭昭蘭策劃的「困難的風景:聲音製圖學」,從3/22—4/4在香港藝術中心等候廳展開。展覽試圖以聲音做為方法,重新思考現代性的失序、不和諧、以及非辯證性的過程。風景一詞原指藝術家對自然景觀進行的描繪; 製圖學則是以量化、投影、描繪技術對世界進行測繪。借用這些具有視覺產物生產性的詞彙,展覽嘗試透過聲音相關的作品,反思現代空間性,進而提出一種另類的聲音空間知識模型與行動攪動器。展覽呈現三位成長於亞洲1980年代的藝術家及其作品。在全球化的世界中,他們經歷家族與個人關係的遞變、地理上的移動、貨物的流通、以及文化均質化的城市複製。「困難的風景」除了暗示個體所經歷的生命故事坎坷起伏,更說明景致顯得不幸福、不均質、衝突、粗糙、陡峭、破碎、不連續,但卻是異常的立體而可感。現代的投影式世界地圖繪製模式,已無法單獨應付未來行動的需求,「聲音製圖學」試圖提出差異的測繪模式,令絕對數理與演算式,不再只是繪製地圖的慣用工具,反而是藝術家用以處理過往敘述與文化事件的編輯手段,嘗試將敘述變成可聽的空間感知與可視的行動手冊。製圖學這個被認為已經不再科學的學門,在聲音製圖學的提議下,把香港藝術中心等候聽轉換成「聲音製圖室」,可望對聲音藝術這並不自我框限的詞彙提出一個具生產性的提議。

Harsh Landscape: Sonic Cartography, an exhibition curated by Guo Jau-Lan will be on view from 22nd March to 4th April in the foyer of Hong Kong Arts Centre. The exhibition attempts to employ sound as a method in reconsidering the disorder, disharmony and non-dialectical process of modernity. The term “landscape” refers to depiction of natural scenery by an artist, while “cartography” maps the world through techniques of quantization, projection and tracing. Borrowing terms from visual culture, this exhibition hopes to rethink spatiality of the modern world. Additionally, it also attempts to suggest an agitator of alternative knowledge model as well as action of sonic space through sound related works. Harsh Landscape: Sonic Cartography features works by three Asian artists, Ayoung Kim、Dawang Yingfan Huang and Chao-Ming Teng, all grew up during the 1980s. In the world of globalization, they experienced changes in family and personal relations, geographical shifts, goods’ circulation and city reproduction adopting homogeneous culture. Besides implying the ups and downs of personal life stories, Harsh Landscape also speaks about the unusually stereophonic and sensible “landscape” despite its’ unhappiness, un-average value, conflicts, roughness and steepness. The projection mapping in modern days can no longer single handedly cope with needs of future action. Sonic Cartography hopes to suggest vary mapping models, where the absolute mathematical physics and calculation formula are no longer only a usual tool for map making, but become editorial means for the artists to re-writing the history. These narrations will then be transferred to audible senses of space and visible manual. Cartography that was no longer being seen as a scientific discipline, under the suggestion of Sonic Cartography, transformed the foyer of Hong Kong Arts Centre into the “chamber of sonic cartography”, hoping to propose a productive suggestion for “sound art”, a term that is not self-restricted.

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創作者介紹

易術碎碎唸,郭昭蘭Jau-lan Guo

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