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時間：2017/07/15 （六）， 7-9PM
張欣，出生於加拿大溫哥華，現居台北。她的藝術實踐是變化性的，常透過共感的過程和他者對話，以錄像、聲響與表演進行。張欣的抽象繪畫與合唱音樂的藝術背景強烈地影響她的認知過程。她的作品曾於國際展出，包括上海新時線媒體藝術中心、台北滲透影像藝術節、台北失聲祭與韓國Jeju National Art Museum。她的表演<Inland＞於2013年獲得Arte Laguna Art Prize提名。
Time: 2017/07/15 Sat. 7PM
Venue：Taipei Contemporary Art Center, No. 11, Lane 49, Baoan Street, Taipei (MRT: Daqiaotou Station)
Artist: Rory Viner, Sheryl Cheung
Ticket: NT 200 (one drink included)
Two sound artists are presenting their new compositions in the night of Expanded Ears. With different means of data reading, they develop individual approaches to hear the sounds of body, society and nature.
Rory’s performance will make improvisation based on the collected data and experimental music. His works concern the social and cultural geography composed by human emotions, and his compositions are often generated by collected data via big data of society or sampled data from private bodies, capturing the interface structure holding emotion and energy in the deep consciousness.
Life Cultivation is an attempt for sonic communion between plant and human via means of foley, bio-recordings, film extracts, and hymn. This is the second performance of Sheryl’s botanic series, which is an ongoing project that experiments with both scientific and mystic methods to understand the forces that drive natural life. The project was first inspired by Sheryl’s daily practice of Taichi under Banyan trees; the circulation of qi opened her senses to a glimpse of inner resonance and the possibility of cosmic union between heaven and man.
Rory Viner is a sound artist and experimental composer based in Tokyo, Japan. With a focus on unusual music structure, interwoven melodies and glitch techniques, Rory constructs a sonic architecture of dazzling moments of sparse beauty amidst lush and complex orchestration. His current work focuses on synesthesia (the mixing of senses), sensors, data and sound.
Sheryl Cheung was born in Vancouver, Canada, and currently lives in Taipei, Taiwan. Primarily working between video, sound, and performance, her artistic practice is metabolic and elements respond to each other often through a process of synesthesia. Sheryl’s artistic background in abstract painting and choral music heavily influences her cognitive process. Her work has been shown internationally, including Chronus Art Center, Shanghai; Osmosis Audiovisual Festival, Taipei; Lacking Sound Festival, Taipei; and Jeju National Art Museum, Korea, Her performance ‘Inland’ has been nominated for Arte Laguna Art Prize in 2013.
About the Salon Spice
In 2017 TCAC is launching a new program series as an attempt to contour future politics by creating a tangible open space for connecting experimental displays and thematic discussions: the Salon Spice. Taking a departure from “body politics”, the Salon Spice will contemplate issues related to social organization and the distribution of political power from two main subjects “sex” and “death.” We will explore how bodies are at the center of this topic, subject to political agency, ideology, cultural symbol, structure and discipline across different cultures. Through a cultural and historical lens, we shall examine how bodies are presented and connected by their representation among individual and collective desires and manipulations in art. Politically and economically speaking, we will investigate how bodies are constantly labeled and classified as heroes, holy figures, witches, or the disfigured. The abnormal, alienated, instrumentalized or body-as-machine figures shall also be examined. These problematic topics will lead us to rethink and identify the real starting point for our very own modernization progress, and link with the symptoms of the contemporary social bodies. Related topics may also extend to eros, gender, identity politics, queer studies, feminism, violence, pain, death, post-internet, cyborg, etc.
The Salon Spice series suggests how to create a 21st century art salon that meets diverse variations of contemporary knowledge production, artistic practice and development of public sphere. It aims to create a co-learning collaborative environment and process for artists and other professionals by building conversations and navigating through research, display experiments, brainstorming, and other artistic communication beyond the form of exhibition-making, and together, exercising the space with fantasy and intervention. This could be considered as one of the strategies for TCAC to expand the public realm and art experimentation, providing a progressive platform for the local art community to explore ideas and intercultural exchanges that can be a part of the public imagination for the art center’s space narration, institutional identity, function and community.