This blog has been quite sleepy… Mainly because Atelier Hui-Kan has been extremely busy since November, especially working on a collaboration project between Volume-Collectif and Horse Dance.
Volume-Collectif is an art collective, this time represented by Christophe Havard, Hughes Germain, Wan-Shuen Tsai and Yannick Dauby. Horse Dance is a taiwanese male-only contemporary dance company.
The project happened in Huashan 1914 in Taipei between 10 and 27th November 2011. Three different exhibitions, three different shows with a total of 12 performances… Check the website of Horse Dance for reviews and documentation.

September-October 2011 : Workshop in Yonghe, Taipei @ Small Idea Bookshop

27 March 2011. Performance at Tadpole Point (尖蚪), Treasure Hill (寶藏巖)

和老Kohler&Campbell 一起的晚上
An evening with the old Kohler & Campbell

Wan-Shuen Tsai 蔡宛璇 - Video
Wang Yu-Jun 王榆鈞 - Piano recordings, guitar, found objects & computer
Yannick Dauby 澎葉生 - Piano recordings, analog delay, found objects & computer

27 March 2011. The Sounds of Places.

無論是在日常生活中或是異地裡, 田野錄音總在探索環境與收集不尋常的聲音, 再將這些聲音帶回工作室中, 小心地擇選和編輯, 有時以拼貼或編曲方式, 有時則試著保留住這些聲音中的主要特質。

Yannick 希望在這次的聆聽會中介紹一些以上述內容為主的聲音藝術工作者的作品, 其中多數是新作, 或是一些市場上不易尋得的出版品。這次所選播及介紹的作品, 包含在實驗室中科學儀器的聲音, 發出獨特聲響的沙塵, 迷幻植物, 水中動物以及即地 (in-site) 即興作品。

Field recordists explore their environment, gather unusual sounds from daily life or exotic locations, take those sounds back to the studio, carefully select and edit them, sometimes make a collage/composition, sometimes keep their original specificity.
Yannick Dauby will introduce some artists working with these topics through recent or hard-to-find publications. The selection includes the sounds of scientific equipment in laboratories, booming sands, hallucinogenic plants, underwater animals and some in-site improvisations.

Sunday December 12th, our last day with the people of Nankeng for this year !
After six months of work, we ended by a full day of activities.

- Distribution of the Map of the 1000 Steps Old Trail and the CD (wait for the next article on this blog for more information)
- A presentation and discussion about this year’s project
- A concert by the group of musicians of Nankeng playing Beiguan (Wow ! They are playing every week now, they can perform a few times a year, and they play even better than before)
- A good meal of Hakka Food (Gui-Zhu loves cooking !)
- A hike on the 1000 Steps Old Trail, concluded by a fire and walking down in darkness with old-style torches
- Another good meal (we love the food cooked by Gui-Zhu !)
It seems that everyone was quite happy. A huge thank you to the people of Nankeng for this fantastic adventure.
A bit later we’ll build up a simple website for the village. And next year… there will be new ideas !

Wan-Shuen and Yannick (拾景人) are starting a project in a very very complicated place, 寶藏嚴 (Treasure Hill in Taipei). Last Saturday was our first day and we participated to a very very strange event. Our proposal was to ask two questions to the numerous visitors :
- what is your first impression when arriving in Treasure Hill ?
- in the city where you live, what is the place you would really miss if it disappears ?
We got many answers, some were interesting, and the visitors were invited to stick it on the wall of our studio.
We still don’t know how will evolve our residency. We are deeply thinking about it…
Edit: forgot to mention that visitors who let they answer could chose a gift amongst a photo from an exhibition of Shejingren about ruins of Peng-Hu, a selection of short sound creations by Yannick or a poem written by Wan-Shuen.

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Yannick Dauby

L’oreille et d’autres parties du corps - Promenade     耳朵與身體其它部位 - 散步。

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作品說明：
這個作品不存在於展場，你必需向展場人員押一個證件，然後你會得到10分鐘左右的散步時間，戴著耳機，出去散步吧！

開幕演出∣2009年7月24日 星期五 下午七時三十分
展期∣2009年7月25日至8月16日
閉幕對談∣2009年8月16日 星期日 下午三時
時間∣週三至週日 下午二時至九時三十分，週一、二休
地點∣國立台北教育大學 南海藝廊 (台北市重慶南路二段19巷3號)

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展覽介紹：

切開皺摺的皮層，結果是無聲的姿態，生存的謊言，還是高明的偽裝？
Cutting open the wrinkled skin, what we get is a silent bearing, a lie to survive or a wise disguise？

「解剖課：身體再衍藝」源起於一項單純的意念：當家銘隨侍在他罹癌的母親身旁時，側身觀察到她生理指數的衰敗，以致她耽溺於自我身體意義的無窮追索。面對 死亡，肉體何其脆弱，生命又何其可貴。然而在此醫學與科技勃發的年代，究竟身體經歷生老病死的必然階段後，還保有何意義？當延續生命與維持體態成為當代醫 學科技爭相發展的趨勢，當代藝術家會選擇如何回應？本展覽從身體意象的再現，試圖從當代社會文化中所建構的視覺符碼、意識形態與內在的異化，從現實世界的 象徵符號層，透過身體感官的經驗掀起一層迷霧來認知自我當下。我們結合台灣各地的藝術家與旅台的法國藝術家共九位，經由各種藝術媒材，如錄像、聲音裝置、 攝影及平面繪畫來進行另一種「解剖」，提出另一層詮釋與觀看身體異質性的思考。經過多元化的藝術表達形式回返自身對於身體經驗的體悟開始與醫學、科學對 話，在生命幽微之處、眾聲喧嘩之際，這次我們交出麥克風，讓「身體」自己來說話吧。

<策展人／周家輝、葉家銘>

“The Gross Anatomy Course: Body[re:]Mix” originated from a pure thought: when Jia-Ming was taking careof his mother, who suffered from cancer, he discovered that thedeclination of her physiological index made her lost in the search ofmeanings for her body. Confronting with the death, we realize howfragile our body is, and how precious our life is. However, what valueof body remains after we’ve been through birth, aging, illness, anddeath in the era of thriving medicine and technology? What docontemporary artists choose to respond when prolonging lifespan andmaintaining the body image become the tendency that the contemporarymedical science and technology struggle for development? Thisexhibition attempts to reveal the veil to cognize the ego state by theexperiences of bodily senses from the reconstruction of the body image,from the visual signs that are constructed by the contemporary socialculture, from the dissimilation of ideology and inherency, and fromreal world’s symbolic mark level. We combine nine Taiwanese artists andFrench traveling artists to perform another kind of “dissection,”proposing another idea to interpret and to observe the heterogeneity ofbody by ways of artistic media of every variety such as videorecording, sound apparatus, photographing, and plane painting. Returnto your own bodily experience, starting to talk with medicine andscience via multiplex artistic expressive forms in the dim life full ofclamors. This time, hand over the microphone and let the “body” talk.

< Curators / Chou Jia-hui, Yeh Jia-ming >場景一
開幕演出∣2009年6月20日 星期六 下午七時三十分
展期∣2009年6月22日至7月11日

藝術家對談∣2009年7月4日 星期六 下午三時
時間∣週一至週六 上午十時至下午五時，週日休
地點∣洪建全教育文化基金會 覓空間 (台北市羅斯福路二段9號12F之1)
電話∣(02)2396-5505 http://www.hfec.org.tw/

場景二
開幕演出∣2009年7月24日 星期五 下午七時三十分
展期∣2009年7月25日至8月16日
閉幕對談∣2009年8月16日 星期日 下午三時
時間∣週三至週日 下午二時至九時三十分，週一、二休
地點∣國立台北教育大學 南海藝廊 (台北市重慶南路二段19巷3號)
電話∣(02)2392-5080 http://blog.roodo.com/nanhai/

策展人∣周家輝、葉家銘
藝術家∣施懿珊、張敏智、陳長志、趙璐嘉、Yannick Dauby (澎葉生)、蔡昌霖、鄭宇翔、簡郁茜、藍元宏

主辦∣聲體空間
協辦∣洪建全教育文化基金會 覓空間、國立台北教育大學 南海藝廊
指導∣行政院文化建設委員會
贊助∣台北市文化局
特別感謝∣琉璃奧圖碼科技股份有限公司、國家文化藝術基金會、財團法人邱再興文教基金會鳳甲美術館

自由入場 免費參觀

Scene1

Opening∣20.6.2009 (Sat.) at 7:30pm
Exhibition Duration∣22.6-11.7.2009
Opening Hours∣Mon.-Sat., 10:00 to 17:00 Closed on Sun.
Venue∣Hong’s Foundation for Education & Culture Meme Space
Rm.1, 12F., No.9, Sec. 2, Roosevelt Rd., Taipei City
Tel∣(02)2396-5505 http://www.how.org.tw/
Scene 2
Opening∣24.7.2009 (Fri.) at 7:30pm
Exhibition Duration∣25.7-16.8.2009
Opening Hours∣Wed.-Sun., 14:00 to 21:30 Closed on Mon. and Tue.
Venue∣National Taipei University of Education (NTUE) Nanhai Gallery
No.3, Lane 19, Sec. 2, Chongqing S. Rd., Taipei City
Tel∣(02)2392-5080 http://blog.roodo.com/nanhai/
Organized by∣Sound Body art lab.
Assisted by∣Hong’s Foundation for Education & NTUE Nanhai Gallery
Curators∣Kurt Chou & Jimmy Yeh
Artists∣ChangMing-Chih, Chao Lu-Chia, Chen Chang-Chih, Cheng Yu-Hsiang, ChienYu-Chien, Yannick Dauby, Lan Yuan-Hung, Shih Yi-Shan, and TsaiChang-Lin.

4月25日晚上19h30。詳細資訊與預約請至小小書房

小小書房介紹文：

觀光的澎湖，關鍵字：夏季．畢旅．蜜月．週末二日．海鮮．古厝．珊瑚．浮潛．逐浪．海釣……青春或甜蜜的或浪漫的種種組合。然而，對我而言，1994年的 澎湖之旅，震懾住我的卻是大量的風，焦炙的熱，擁擠的夜空群星，天與海，驚人的澈藍，以其尾隨著導遊，走過珊瑚石砌的小巷間，那些在烈陽底下沉靜地像似隨 時會砰然崩解的老屋，怯怯地向庭院內瞥探，有一種彷彿會打擾了誰的森然。

成 為廢墟，或者遺跡，意味著擱置、遺棄；物品，被篩檢、棄置，不再被需要，隨著歲月逐漸頹敗，腐朽，直到與屋宇一同崩塌，回歸土地。人們從中是如何倉皇或者 悠然搬離，可以從棄置的物品、現場的痕跡辨識出來嗎？能夠重新織就這個廢墟、遺跡曾經有過的生活點滴，生命故事嗎？對於我們，那樣的故事又代表著什麼呢？

詩人蔡宛璇與聲音工作者Yannick Dauby組成了「拾景人」雙人團隊，進入澎湖，宛璇的故鄉，返回法國，Yannick的祖國，到干亞村去拍攝、蒐集兩地的村落遺跡影像以及聲音，用文 字，記錄、構築每一間被棄置空屋的形貌，進入時的感受、想像，打動我的經常不是在時光裡凝結的屋宇攝像，而是因為那個空的空間，而膨脹起來虛構故事，以及 心情：「我能想像一對夫妻躺臥在那扇小窗前。走上屋頂，我突然有種想佔有某些地方的感覺。我不停地想著：我喜歡這個地方，更何況它完全能住人。我想著要怎 麼做才能在這住下來。/如果我是這間屋子，我也會想這麼做。引誘一個意外的訪客留下，好讓我再次豐富起來。因為住的人能賜給我一個生存的機會，留住他們以 防止我最終的毀滅。這些留在我體內的人類生活之種種，就是我存在的保證。」（《村落．遺跡》）。這個創作計畫的另一部份，是遙遠的法國干亞村。同樣是荒置 建築的影像，拾景人們蒐集了該地被遺留的書信片段，作為文字記錄。

以影像、聲音、文字三個不同的創作媒材完成的創作計畫，讓我備為震驚。環繞在廢墟．遺跡這個意像上的創作並不少，但從未曾給我一種「召喚復活」，重新賦予 生命的感受。拾景人們創作的文字，將生命注入空的屋宇；記錄屋子的、村落的聲音，使得他們也能訴說自己的存在，而影像本身，毋庸置疑地指向不可被否定的存 在，即便本體消亡、毀滅，它依然在時光裡被留存下來。

A few years ago, I was exchanging music with a few travelling friends, all sound artists and musicians in the quest of imaginary landscapes. At this time, these friends were exploring the Northern Europe, working in the Baltic states and in Scandinavia. And they copied for me several gigabytes of MP3 coming from these areas. All these files held strange names and titles, with a lot of “K” and “L”. The sounds from these musics were all familiar and colourful, sweet and fresh, like a full box of old-style candies. Repetitive, folkish, naive, archaic and secret. Amongst these strange names, there was one who stroke me : Pekko Käppi. It was mainly a bowed stringed instrument played in the most minimalistic way, not unlike a Tony Conrad piece. The chanting sounded like epic poetry whispered in a small countryside house. The lo-fi quality of the recording was adding to the feeling that this was an ethnographical document but I could not decide when it was recorded, in the 30’s or the 90’s. But for sure, it sounded like the musical portrait of a northern european village.
Then, in Autumn 2008, in Taiwan, in the countryside of Kao-Hsiung County, in a region where chinese Hakka culture is still living, I learned that the guy behing the clattering name, Pekko Käppi, would eventually come and play. During one starry night, this gentleman-viking played his once forgotten and then retrieved instrument. He sung the cold stones, the ancient trees, the arctic light. The stories were dark, humourous, obsessive. An amazingly exotic music in this tropical location. A surreal collage.
And the audience of Meinung, this small taiwanese city, became fascinated, able to stay until the last moment of the performance without losing the concentration. In a junior high school, he stunned more than 500 students, most of them keeping their mouth wide open during the songs. He even got a high consideration amongst the old guys playing traditional music Bayin in front of a small temple. Later, Pekko sung a few of these pieces in a not-so-special bar in Taipei. And even amongst the other musicians who are only musicians, the Finnish Jouhikko player transported us once again.
Who is Pekko Käppi doesn’t matter. And nobody would care of his appearance, even if it was quite surprising amongst the taiwanese people. Pekko has a simple and humble attitude, so one would not concentrate his attention on his person. Pekko is not a character, but while listening to his music, one would go directly through him, above him. The intensity of his music isn’t a matter of volume or obvious emotions, it is a strong capacity of evocation. The song absorbs the audience and dissolves them into the old stories.
As a sound artist I’ve listened and participated to numerous experimental music performances but very few had the power of Pekko’s concert. Folk music is oftenly disregarded by contemporary composers or artists. Folk music has been lessen by World music and some clumsy multicultural hybrids. But Pekko has shown with his sincerity and talent that Folk music can be a way of recovering the musical humus, a way to reconnect ourselves to the cultural mycelium. His music feeds, overwhelms, sparks, spawns. It embodies the Scandinavian landscape.
Right now, Night Herons are flying in front of my window in the suburb of Taipei, and the tones of the Jouhikko dances with them.

(Y.D. - 02.12.2008)

Have a listen :
www.pekkokappi.com
www.myspace.com/pekkokappi

About the Jouhikko :
en.wikipedia.org/wiki/Jouhikko

Performances organized by:
www.treesmusic.com
www.wretch.cc/blog/meinungmusic

Jouhikko的風

陽光突然敲破黑暗，照耀著墳中的瑪莉。瑪莉起身，全身充滿流動的空氣，她開始跑。
穿過草原穿過森林向前不斷奔跑，她並不清楚快樂，也不知道傷悲。

像一陣風在草上，就像
一陣輕風在草原上
輕風奔馳，一陣一陣
它經過湖面的霜草原的夜
越來越急越來越沉那風生自海吹拂過苔蘚
河水不停流奔傳說如藤蔓延夜啊夜的絲弦

微風與歌，十八萬七千八百八十八個
傾聽地心的型態
火光與弦，十七萬九千五百八十四座
水面上的觀夢台
就像馬毛與冷杉做的琴曾被猛烈地焚燒與遺忘
就像光線在時間中寫的歌曾和異教徒一起熄滅
又再復活。Jouhikko
Jouhikko。

如同最古老的咒
在響起的瞬間帶我們去到黑暗與深
冷    及結晶
雪在雪中燃燒無聲，泥土下
生命之種種，最簡短
與最漫長的詠嘆調

風重覆旋轉，歌直達地心
天空和原野從此得到撫慰
河流得到故事
記憶得到湖水

那人不說自己是誰，但他擁有
會呼吸的風。那風在琴中
忽忽長出一大片草
草原自歌聲悠蕩出
一匹馬，一棵樹。

馬在樹下
低頭吃草

瑪莉還在奔跑

- 給芬蘭的Jouhikko樂人Pekko Käppi 。

後記：部份詩句來自pekko在演唱時所講述的歌謠內容。此外，芬蘭國土有187888座湖和179584個島。

(Wan-Shuen Tsai 蔡宛璇 - 11.2008)

Last Saturday (08.11.08) we were in Meinung invited to participate to the opening ceremony of  Ciu Ngiang Fuk (Hakka Culture and Art Festival in Kaohsiung County 2008).

Because of the unusual heat, of the absence of Autumn, we decided to make a “Ritual for the Death of the Cicadas”. Behind the temple of Guo-Gong, we set up small loudspeakers playing cicadas sounds on the floor and lines of cicada chrysalids in the trees. We began the ritual by slowly burying the loudspeakers with some earth. Then we cut the lines of chrysalids, gathered them. And crushed them by hand with the help of the whole audience. The crushed chrysalids were spread on a cotton textile. On this textile we used glue to draw a Qiu ideogram (”Autumn”).
And it worked ! One hour later it was raining, and since then the temperature decreased considerably…

Check out our Photo Gallery !

上個週末(2008.11.08) 我們在美濃參與”秋迎福”(2008高雄縣客家文化藝術季) 的開幕活動。

由於兩週前在美濃進行相關活動(聲音與創作啟發工作坊)時感受到了這個時節裡頗為不尋常的熱度，以及秋天遲遲未來，我們決定在開幕活動上進行一個”祭夏蟬”的儀式/行動。就在開幕活動所在地，美濃地區的開庄伯公樹下，我們將8-10個正發出蟬叫聲的小喇叭一一放置在樹下的地上與草間。並將早上由美濃國中一年級的義工學生們所串成的蟬蛻，一串串垂吊於枝葉的末稍。當天是入秋第一道冷鋒，天候陰霾，一串串的蟬蛻隨風微微擺蕩。儀式開始時，我們與兩位住在附近的小男生一同自群眾中走向蟬聲播散處，每人找一把土，捧在手心，以土輪流將所有的平躺的小喇叭慢慢覆蓋住。蟬聲就在我們來回移動中，與一次次沙土的流瀉下，漸漸變得微弱，直至消失。接著，其中兩人開始以剪刀垂吊在這些喇叭之上的串串蟬蛻剪下，放入協會特別為活動印製的”秋迎福農藥袋”(廣受歡迎) ，並開始走向微觀的人群，把袋中的蟬蛻一小把一小把的放到每個人手中(不少人在接過的瞬間都發生了有趣的反應…)。與此同時，另外兩人走向伯公旁的平台上，攤開一塊棉布，並開始在布上以膠水寫下一個字(特別感謝阿斌在旁及時補充膠水的量)。

接下來，一人將手舉得老高，她的手中有一把蟬蛻，她將手慢慢握緊，手裡發出薄脆的聲響，那是蟬蛻裂成了細小的碎片與粉末。她把手朝下，在棉布的上方，像剛剛將泥土把蟬聲淹沒一樣，蟬蛻的碎片紛落在棉布上。接著，開始有其它人走過來，也伸手做出一樣的動作：大人，孩子，青少年，以及臉上掛著有趣笑容的老人家們。做的時候，有人嚴肅，有人面露驚怕，有人開心笑著，也有人興奮地重覆了數次。當所有的蟬蛻都變成布上的褐色碎末時，看起來就像秋收後的穀糠散落一地。

在祭伯公的儀式後，作家鍾鐵民老師與文化局長從我們手中接過平置的布，並將其上的碎片抖落：那時，人群中有許多人恍然地發出：喔…是|”秋”字！。

一小時後，較大的雨勢和山宛然布袋戲及國中八音班的伴奏尾聲一起降下，整個”秋迎福”開幕結束。從那時起，氣溫和空氣中的感覺都明顯和先前不同了。

後記：

感受泥土捧在手心，聽見蟬聲漸息，看到蟬蛻形態之美，感覺它的脆弱，在手一握的瞬間化為碎片，見證眾人撒落的碎末混合在一起，化為秋天的祝福，細雨下飄揚的旗幟。

這個小小的，儀式性的演出，透過在場許多美濃人不分老少的熱情參與。蟬蛻是成蟬必經個階段，它呈現的是一隻成熟終齡若蟲鑽出地面時的樣貌。蟬生自泥土深處，成熟時上樹生活並高歌一整個夏天，到死時又由樹稍落土，復返大地。這樣的生命循環歷程給了我們一些想法。於是我們希望藉由這些元素，透過簡單的儀式性的轉化，以及眾人的參與，在行動中感知自然的韻律與其極為脆弱的平衡，並隱隱透露出，客家文化在世代傳承工作上的重要性與迫切性。

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