GOGOJ

2019/11 拿着乐器去看画 “visit the art exhibition with an instrument” composition

“visit the art exhibition with an instrument”

Oil Painting

Music composition by paintings,  I made this music score painting project between 2016 and 2018. 7  musicians should be play with their own instrument below the rules on the canvas in front of him or her, and each musician should be focus on their own sound and do not listening the other musician’s play, 10 minutes after when “pause” sound beginning they can change a new painting and play.

16 Nov 2019, Beijing.

拿着乐器去看画

材质:油画

2016-2018年之间我画了一组作曲乐谱相关的油画,在制定好的规则内多位乐手轮换位置,并按照自己面前的画面上的图形理解成一个小节或是一个音,然后遵循画面图形的移动轨迹进行重复演奏10分钟, 每个乐手在演奏时要屏蔽其他人的声音,并专注于自己的演奏。每10分钟将会有一张“鳞的休止”被演奏5分钟,此刻演奏休止符的乐手之外的其他乐手将顺时针更换位置来到新的画面前进行演奏。

2019年11月16日,北京。

2019/11 三个与离心圆相关的作品 compose

Three Pieces About Centrifugal Circular

4K color, PAL

full version duration: 40’11”

Three compositions about a conception of centrifugal circular by

Maybe Noise Member (Zhang Shouwang/Yan Yulong/Sheng Jie) ,

they play them and make a film&recoding at a round space.

The sense of hearing represent by the visual language.

Director: Sheng Jie

Cameraman: Fu Xiuliang, Zhao Yihan, Sheng Jie

Light: Zhang Jian

Sound Recording: Wei Guo

Editing&Sound: Sheng Jie

Color Correction: Lin Liangwen

Producer: Maybe Noise

三个与离心圆相关的作品

影片4k,彩色PAL,完整影片时长:40分11秒。

将听觉的“觉识”视觉化,通过影像这个属于“观看”的语言去记录和表达听觉在空间里的运动轨迹,

Maybe Noise挑选出了三个与圆形相关的作曲作品,在一个圆形的空间里演奏。

导演:盛洁gogoj

摄像:傅秀良,赵轶晗,盛洁gogoj

录音:魏国

灯光:张健

后期剪辑&声音:盛洁gogoj

调色:林良文

出品:Maybe Noise

2019/4 盲音 The Sound Of Blind audio performance

The Sound Of Blind

Color PAL HD

full version duration: 16’02”

shooting at may 2018.

short version duration: 3’48”

 

盲音

彩色 PAL 高清

完整版长度:16分02

两个人像是约好一样同时来到地下通道,拿出各自的乐器,蒙上眼睛往前走,全程不交流,通过对方的声音对自己进行方向的指引,当两个演奏者汇合之后再往各自的反方向继续行走,回到自己的起始点,收起乐器并离开。

演奏者始终保持同一频率的音和节奏的演奏,无需更换,让自己乐器发出的声音接近均匀的呼吸。视觉被设置消失之后,听觉在空间里被慢慢放大,身体其他的感知处于未知的状况。

此网站视频片段长度为3分48。

拍摄于2018年5月

2018/9 欲言又止 Utterance But Silence DOT Audio Visual Art Performance

Utterance But Silence

Duration:10‘50″

Audio Visual Art Performance by DOTavlab at TEDx Factory798. Beijing.

concept / audio visual patching / music by gogoj aka Sheng Jie

part of video footage by Sanqing

video link: https://vimeo.com/manage/301717773/general

欲言又止

时长:10分50

作品概念:在人工智能时代,我们对未来提出了一种设想:当人类有一天失去自己语言的时候,会不会是一种“欲言又止”的状态?

DOT视听艺术表演在 TEDx 798工厂,北京

作品概念/视觉编程/音乐制作 :盛洁gogoj

视觉素材部分提供:三青

 

2017/8 视听艺术表演 Audio Visual Art Performance audio visual art

Audio Visual Art Performance at  exhibition [.ZIP]

gogoj & Dinxie

Today Art Museum,Beijing.

Aug 2017.

视听艺术表演 于展览 .zip

盛洁&丁昕

今日美术馆

2017年8月

2016/7 昨天写给明天的信 Letter From Yesterday installation

Letter From Yesterday

field recording / video

duration: 8 ‘

2016, Exhibition “Change and Breath Drug”, Hunsand Space, Beijing.

 

昨天写给明天的信

2016年7月,展于《第六颗子弹》拾万空间

环境录音/单频录像

时长:8分钟

 

2015/12 大提琴二重奏 Cello Duo Audio Visual Art Performance

Cello Duo

visual programing & electronic cello by gogoj aka Sheng Jie.

cello by Aming

dec 2015 at AM art space, Shanghai.

video link: https://vimeo.com/152147240

 

 

大提琴二重奏

无窗的风景系列演出

audio visual art 现场

视觉程序:盛洁

电子大提琴:盛洁

原声大提琴:阿鸣

2015年12月于上午艺术空间,上海。

视频链接: https://v.qq.com/x/page/q017985wpmp.html

2015/7 教堂的后花园 Back Garden Of The Church installation

Garden Of The Church

Easy confession by that numbers , tow telephone (interior line) install in the back garden of the church.

Cologne, Germany.

23/7/2015

教堂的后花园

在教堂的后花园安置了两台互通的电话,用来倾诉,中间的休息等待区域可以坐一个人,可以倾听可以等待。

2015年7月23日

装置,科隆,德国

 

2015/7 Tonlagen Mega Sounds 电子艺术节 Audio Visual Art Performance

Audio Visual Art Performance at Tonlagen Mega Sounds

electronic festival.

Jul 2015 . Desden, Germany.

视听艺术表演于Tonlagen Mega Sounds 电子艺术节

2015年7月 德累斯顿,德国

2015/6 空故纳万境 Myriad Visions Rise From The Void film

Myriad Visions Rise From The Void

Color,PAL

[Myriad Visions Rise from the Void] is a film in 4k i did for An action painting project with a painter name is Liu Shangying.Will expose at national art museam of china in beijing on 16 june 2015. All the images footage shooting and sound recording at Ngari Tibet on last summer. more than half one year for editing. Many hard jobs but really enjoy it.
Complete version is 17’55”.

Concept by Liu Shangying & Sheng Jie

Film Producer and Painting by Liu Shangying

Camera / Sound / Edit by Sheng Jie

Camera & Sound assistant by Fu Xiuliang

video link: https://vimeo.com/129871033

 

空故纳万境

彩色,Pal. 4k

时长:17’55

空故纳万境是与画家刘商英合作的影片。2014年拍摄于西藏阿里,2015年影片完成后期并与刘商英在阿里写生的所有画作在中国美术馆展出。

项目策划/概念/制片/片中画家:刘商英

概念/摄像/剪辑/录音/声音后期:盛洁gogoj

摄像/录音助理:傅秀良

视频链接:https://vimeo.com/129871033

 

2014/6 沙男 Sand Man video art

Sand Man

Color / PAL / HD

Duration: 12′

“Marchants du sable” (sandman) will be a Video project collaboration with Butoh artist Bei O.

This character is coming from aRole Playing Gamewhich is a dream maker only appearing in people deep sleep , like a ghost and film director.Maybe there are many of them.

Shooting at Huangshan, Anhui.

沙男

彩色 PAL,HD高清

时长:12分钟

沙男是一部与北鸥(片中舞者)合作的录像。

沙男是来自于角色扮演游戏(一种多人桌游)书籍中的一个角色,他会在夜晚潜入人们的深度睡眠中造梦,他象一个导演,也象一个幽灵,可能有许多个,可能是一种职业。

拍摄于安徽黄山。

2013/11 交流 Conversation Analog Audio Genarator

Conversation

analog audio genarator, monitor scope.

duration: 14’09”

交流

模拟信号发生器,示波器

时长:14分09秒

 

2013/5 合声音乐节2013 CO-SOUND PERFORMANCE FESTIVAL audio performance

CO-SOUND PERFORMANCE FESTIVAL

gogoj audio solo

live audio performances in the Zhujiajiao Ancient Town in Shanghai.

5. 2013. Zhujiajiao Shanghai.

合声音乐节2013

盛洁独奏

朱家角艺术节,

演出场地位于上海朱家角古镇的一座百年老宅-朱矶阁。

2013年5月,朱家角,上海。

2013/5 烟 Smoking video art

Smoking

mute

3 min, pal, color.

May 2013。Beijing.

In the night, indoors. A woman in a pajama walked to the window in the silent darkness. It seemed that she lost sleep because of thinking something, or just woke up from a nightmare. Whatever, she lit a cigarette at the window. In the light from the road lamp outside, she seemed to change into several different women under the weak light during the time of a cigarette. The video was shot with a fixed camera. Four different women play the same role who smoke a cigarette in front of the window. All of their movements were made into a flawless “one shot”.

When a woman is observed with certain mood under certain light with certain distance, how many aspects will she possess? As the audience, will he doubt his judgement on such a monotonous image?

单频录像,彩色,无声。

3分钟,Pal, 彩色

作品阐述:

夜晚室内,寂静的黑暗中一个女人穿着睡衣走到窗前,似乎是想到什么而睡不着,又可能是从噩梦中走出来…..,总之她在窗前坐下点燃了一支,窗外路灯隐约的光线打在她脸上,而她似乎在微弱的光线中变换成了好几个不同的女人,而整个过程只是一支的功夫。固定机位的拍摄,由四个不同的女人来扮演,她们要完成的任务就是扮演同一个女人在窗前抽完一支,所有的动作要连贯成无缝衔接的一个镜头

一个女人在某种特殊的情绪和某个特殊的光线以及某种距离观看时,到底有多少面?而观者是否又会质疑自己对如此单调的画面所作出的判断。

2013年5月

2012/9 Frischzelle 2012 audio visual art

Frischzelle 2012

Sound: Yinyi

Visual: gogoj

at Dusseldorf. 20.9.2012

Frischzelle 2012

声音:殷漪

视频:盛洁gogoj

於杜塞尔多夫,2012920

2012/8 二进制声场 The Situation Of The Body And The Binary Audio Visual Art Performance

The Situation Of The Body And The Binary

Audio Visual art performance

gogoj Solo

8.2012. at Zajia Lab

Beijing.

二进制声场

声音视觉艺术的即兴表演

盛洁gogoj 视听独奏

2012年8月19日於杂家

北京。

2012/6 明星 Star video art

Star

single screen

4’11”

Pal, Color

6. 2012. Beijing

It is a re-production of my video installation work “To Become A

Star in Beijing” finished in 2008. The time differences captured

and recorded by the camera with various shuttle speeds under the

flashlight show partial images. The blaze flashing suddenly from

darkness is a kind of concern with violence. The audience have to

learn to enjoy the momentary stimulations on their retina given by

the blaze because it dose not only give beautiful light spectrum,

but also explanations to vanity.

明星

单频录像

411

Pal, 彩色

20126

再次制作曾经在2008年做过的一个录像装置作品《来北京当明星》。照相机的闪光灯在摄像机的镜头前以不同的快门速度捕捉记录下的时差,所呈现出的是半祯的光影画面,从黑暗中突然闪烁出的强光是暴力的关注,观者需要学会去享受那一瞬间视网膜对强光袭击的刺激,因为那个瞬间有美丽的光谱,也有对虚荣的阐释。

2012/2 干燥 Dry Sound Analog Audio Genarator

Dry Sound

Equipment: Audio Generator + Monitor Scope + Iphone App

maybe difficult for listen.

Feb 2012. Beijing.

干燥

“一个老外说过:难听的意思不是不好听,是听起来很困难”。

设备:声音信号发生器+示波+Iphone App

我用模拟信号发生器制作一张噪音专辑取名叫《干燥》,并将其手工制作成10张CD赠送给在那一年对我来说非常重要的朋友们。

2012年2月於北京shan工作室。

2012/1 听盐 Salt Meditation performance

Salt Meditation

A meditation with salt.

audio visual performance

Exhibition: The Third Party

At Platform China.

1. 2012. Beijing.

听盐

视听行为表演

专注力的视听力修习。

展览:第三方,

地点:站台中国

2012年1月,北京

2011/11 江公馆 Ruins Face audio visual art

Ruins Face

17’18”

B/W

Nov 2011

Acoustic violin, electric violin, laptop

Abandoned buildings are dead buildings, like dead people. Their

appearances are hesitating to leave together with the disappearing

time.

The video samples were shot in a ruin in Zhu Jia Jiao, Shanghai,

which was said to be built for Jiang Zemin, who once visited here.

After Jiang’s leaving, it became into a ruin.

江公馆

17’18”, 黑白

2011.11

原声小提琴+电子小提琴+电脑

被遗弃的建筑也是死去的建筑,如同死去的人,生时的样貌在即将消失的时间里犹豫着是否要离开。

2010年素材摄于上海朱家角的一片废墟,传闻是曾经为迎接江泽民而建立的一座豪华别墅,江走后一夜之间成废墟,故取片名为江公馆。

2011/10 重力场 Gravitational Field Audio Visual Art Performance

Gravitational Field

2011 Himalayas Cross-Media Art Festival

Organized by: Himalayas Art Museum

Dates: Oct 2, 2011

Venue: Infinity Space at Himalayas Center

Audio Visual Solo.

Acoustic Violin + Violin electronic + Laptop

重力 —2011喜玛拉雅跨媒介艺术节

主办:喜玛拉雅美术馆

时间:2011 102

地点:喜玛拉雅中心无极场

视听独奏。

原声小提请+电子小提琴+电脑

2011/6 [零]Zero installation

Zero

Installation 2011,6.

Install On The Roof Of The Triple-Major Shop,
A Using 400′S Traditional Chinese Medicine Soup Filter. 4 Fans, 2 Fans On Top For

Barrier The Noise Form The Street,
People Can Listening And Feeling To The Wind Form The 4 Fans, And Wacthing It Form The Filter.

http://www.soundofnowhere.info/

The Sound of Nowhere is an art project to be embedded deep in the recesses of Dongcheng District, scattered in the vicinities of Andingmenand Gulou. This is an experiment with sound and geography, whereby artists and ‘sound laborers’ will for the duration of one week present workshops, lectures, installations and performances for various locations on the map—from art spaces, a theatre, restaurants to a hair salon. The projects will be traceable from a printed map that guides participants for short walks within a 20 minute radius to find and experience these works as interventions and exchanges with the surrounding public space. By working from a conceptual recognition of sound, we seek to locate and initiate certain resonances between this often overlooked sense and its relation to the noise of our daily urban environs.

主办方 ORGANIZERS: 组织 ZUZHI / 家作坊 HomeShop / Shan-工作室 Shan-Studio
合作机构 PARTNER: 法国驻华使馆 Embassy of France in China
策划团队 PLANNING TEAM: 颖雅 Elaine W. HO, SHENG Jie aka Gogoj, XUE Xian, 骏园 Jun-Y CIAO
项目执行 PROJECT CHIEF EXECUTIVE: XUE Xian
海报设计 POSTER GRAPHICS: WoWo
网站设计 WEBSITE: www.ourwork.is
特别鸣谢 SPECIAL THANK YOU: 共同艺术基金 Common Fund for Art Limited, 中国艺术基金会 China Arts Foundation

[零]

视听装置
2011
65
安置在宝钞胡同81号,Triple-Major概念店的顶层露台。
材料:四百只药淋子,四台电风扇。
风扇提供了一个观景角度,站在两台风扇之间感受着凉风,栏杆上夹着的另两台小的风扇在耳朵两侧有如一副耳机,适度的风声阻隔了街面传来的嘈杂,风吹动地上的药淋子象一种生命在无序的摇摆。
注解:药淋子是用来熬制中草药时筛漏药汤的工具,非常平民化也很便宜,而现在大部分的人们已经不再会去自己熬制中药,于是这简单廉价的小东西在时间里轻薄的接近消失。

此地无声是由Shan工作室Homeshop家作坊及其朋友共同发起的,以寻找作品的方式去认识这座城市,参展的16位艺术家在北京东城区二环内,以交道口北二条为起点将个人的作品分布安置在周围各个公共空间和商铺,其中包括国子监,鼓楼东大街,其间很多的胡同,古老的,残存的,地道的,北京的。观众需要领取地图去寻找作品,由声音艺术和视觉艺术,行为,讲座,Workshop,交谈,游览,吃吃喝喝构成。

展期:201165日-612

主办方 ORGANIZERS: 组织 ZUZHI / 家作坊 HomeShop / Shan-工作室 Shan-Studio
合作机构 PARTNER: 法国驻华使馆 Embassy of France in China
策划团队 PLANNING TEAM: 颖雅 Elaine W. HO, SHENG Jie aka Gogoj, XUE Xian, 骏园 Jun-Y CIAO
项目执行 PROJECT CHIEF EXECUTIVE: XUE Xian
海报设计 POSTER GRAPHICS: WoWo
网站设计 WEBSITE: www.ourwork.is
特别鸣谢 SPECIAL THANK YOU: 共同艺术基金 Common Fund for Art Limited, 中国艺术基金会 China Arts Foundation

2011/2 兑 Convert video art

Convert

12’18”

Pal B&W

2. 2011. Beijing.

Music and Video by gogoj

Dancer & Vocal by Olivier Heux

1218

Pal, 黑白

2011年2月,於北京

与另一个次元的兑换

音乐与视频制作:盛洁gogoj

人声,舞者:Olivier Heux

2011/1 试管青年 Test Tube Boy and Fragile Glass performance

Test Tube Boy and Fragile Glass

Performance, 16min. Jan 2011. at Homeshop.
Give subtitles to an adult video according to one of my dreams in 2008: Test Tube Boy and Fragile Glass

Olivier and I were living in a so-called high-grade apartment in Paris, which actually looked like a relocated community of China, dirty, simple and crude. Out of the apartment window, it was a second-hand market where many Arabians selling second-hand furniture and some Chinese supermarkets selling food from the 1960s. I got no idea who gave me a great-looking grey-colored plastic pistol, which has a return and a play keys on it. When I was still wondering what was wrong with the pistol, it began to tell a story of its past owner. On the screen there was a young boy (mixed-blood) riding a bicycle across the place where I lived in my childhood. He killed a middle-aged man with the pistol. In the following shot, he was prostituting in the dark, giving a man blowjob with lots of sweat, and then another… poor boy. In the end he was still killed and his pistol was given to me. It was not a toy, but what should I do with it? Then I though I could just sell it. I met another young man in the second-hand market, who was selling second-hand watches. He showed me a lot of watches with all styles, from modern style to designed style and also vintage ones. He said these were watches once belonged to Hegel and Lu Xun. From those dusty watches, I found that Nietzsche and Tagore used the same type of minima-designed black watch. I doubted that if he was just a cheater. At that moment, this guy told me that in fact he was a test tube and also a writer. He showed me the book he wrote, full of false sentimentality. I only remembered the last sentence: in our times there are a lot of people living on sending Cokes. They were named “Coca Cola men”. Coca Cola men enriched this economic society and accelerated its death. When I read this, he suddenly changed into a straight test tube.I cleared my mind after waking up. Here is my conclusion: Pistol =  camera, boys = glass, knowledge of scholars = bitches of time, Coke = Test tube, Me = second-handed.

试管青年

行为,16分钟。20111月,家作坊。

一个在2008年做过的梦为一部劣质成人录像配的字幕:

试管青年和脆弱的玻璃

我跟Olivier住在一个声称是位于巴黎的一所高级寓所里,可那看上去分明就是个回牵楼,并且肮脏简陋,从窗户望出去是个二手集市,很多老阿在那里卖旧家具,还有中国超市卖着一些60年代的食品。也不知道是谁给了我一把塑料手枪,灰色的,看上去挺高级,明明是把枪怎么那上面还有回放和播放的功能键呢,正琢磨呢,那枪就开始告诉我它原来的主人是怎么样的,画面里一个年青的男孩(咖啡混血)骑着自行车穿过我小时候住的地方,他用那把手枪杀死了一个中年男人,然后就是黑夜里他在卖淫,满头大汗的给一个男人口交,又再去伺候另一个男人可怜的男孩,最后他还是被打死了,他的手枪就到了我的手里,那不是玩具,可是我拿着它又能干吗呢,就想着干脆去二手市场卖了得了。在二手市场碰见另一个青年,他是卖二手手表的,他给我展示了很多手表,有新款的样式很现代很设计,也有老式的,他告诉我说这些是从黑格尔到鲁迅先生带过的手表,我在那些满是灰尘的手表里发现尼采跟泰格尔老人家有同样的一块设计很极简的黑色手表,我很疑惑他是否是个骗子,那青年这时候就告诉我说他其实是支试管,并且他还写书。他就给我看他的书,他的文字很嚼情,只记得最后一句好像是这么写的:这个时代有很多以给人送可乐为生的人,这种人群我们称之为:可乐人,可乐人密集了这个经济社会并使其快速走向灭亡。看到这里的时候他就变成了一支上下一边直的试管。醒来以后整理了一下思路,总结出这么几个东西:手枪=摄像机,男孩=玻璃,学者的知识=时间的表子,可乐=试管,我=二手。

2008220

2010/12 弦 “String at Shanghai” installation

“String”

installation at MOCA ShangHai Museum of Contemporary Art 2010 Dec, Exhibition – beyond the body.

Material: acrylic boxes, fishing line, water, plant form moca park, light.

Size: 13m x 3.7m

声影装置

材料:塑料透明盒子,鱼线,水,人民公园里的植物残枝,灯光。

尺寸:13米 x 3.7米

於展览[弦外]

2010年12月上海当代艺术馆

2010/11 弦 String at Tokyo installation

“String”

the beauty of strings stretched taut.
sound-lighting installation
materials: acrylic boxes, fishing line, water, bead, flashlight.
size: 6.7m x 3.5m
“String” is an interactive audio-visual installation completely free of any high-technology digital components. It uses simple, everyday principles of sound and light and is realized with common materials. Fishing line bears qualities similar to those of musical strings, and stretched across clear boxes in number and attached to a wall analogous to musical wood, it becomes an enormous stringed instrument. The boxes act as the bridge of the instrument, and with certain pressure on the fishing line, sound is produced. Water is contained in each of the boxes, and with each pluck of a string, participants can see the tableau of ripples produced by the vibration of sound. By moving the clear boxes up and down, different pitches of sound can be adjusted.Lit from above, the work forms rays of flowing light.Just as Eastern aesthetics are to a great degree created in a context of restriction, the stretched fishing line has the possibility to break at any time. This installation requires interaction on the part of its viewers, but only such that those who want to see or hear its beauty must do so at the risk of destroying it.

“String” installation in tokyo 2010,Nov, at 3331 art chiyoda.

弦-紧绷的美丽

声影装置

材料:塑料盒子,鱼线,水,玻璃珠,手电筒

尺寸:670cm x 350cm

2010年11月 於东京 3331 Art Chiyoda

[弦]是一个声音与影像初始自然生成原理的互动装置,与数字高科技无关。制作材料使用的是比较廉价常见的日用品。鱼线在这个装置里所起到的作用相当于一个弦乐器的弦,两端固定在木板墙上,再把装有水的塑料盒子插入鱼线与木板墙之间,由于塑料盒子有一定的体量会将固定在墙上的鱼线紧绷起来,在一定的张力下去弹拨鱼线就会发出类似弹拨乐器的声音,塑料盒子如果被上下移动便可以调制出不同的音调,也就是说塑料盒子的作用相当于一个弦乐器的码子,而由于整个墙面是木质的也就成就了共鸣这一乐器最基本的功能。一根鱼线一个塑料盒子加墙面上两根木条所制造的轨道(用来固定盒子只能上下移动)成为一组,可以根据空间的大小来无限的制作轨道的数量,一个庞大的弦乐器就在一个空间里产生了,可以供多人演奏。盒子里的水是通过手电的光来呈现弹拨时的声音所产生的水纹震动,而每一个盒子里的玻璃珠则像是一个个东京人的心脏,因为这个作品是在东京艺术驻留期间制作的,日本文化中的束缚与紧张也是东方传统美学里的重要部分。

2010/9 模拟系统视听表演 performance at 3331 art chiyoda Analog Audio Genarator

Audio Visual Art Performance at 3331 Art Chiyoda

Analog Audio Genarator + Iphone App

September 2010. Tokyo. Japan.

模拟系统视听表演

模拟信号发生器+Iphone App.

2010年9月

於东京 3331 Art Chiyoda,日本。

2010/9 电视男 TV MAN audio visual art

TV MAN

Oreginal Version Duration:13’37.
Analog Audio Genarator + Iphone App
Gogoj Audio Visual Performace
Li Zenghui Voice.

Concept And Technic Reserche By Gogoj,
8 Sept 2010 On Parallel Oscillation.
At 2 Kolegas, Beijing.

电视男

13分37秒

信号发生器+Iphone App

人声:李增辉

平行波,于两个好朋友club,北京。

2010/3 闇 The Sound Behind The Door experimental music

The Sound Behind The Door

Sally Can’t Dance 2010

L’os & Walnut Room(核桃室)

L’os
Violin: Gogoj
Vocal & Drum: Olivier Heux
Walnut Room:
Drum & Saxphone: Li Zeng-Hui
Drum & Guitar & Vocal: Feng Hao
2010.3 At D22, Beijing.

撒丽不跳舞中国试验音乐节2010

L’os 与 核桃室

L’os 成员:

小提琴:gogoj

人声和鼓:Olivier Heux

核桃室成员:

鼓,吉他,人声:冯昊

鼓,萨克斯:李增辉

20103月於D22,北京。

2009/6 夜行 Night Wander audio visual art

Night Wander

10’58”

Pal, Color
Analogic System AV

2009.6
Beijing,China

夜行

1058

Pal, 彩色

模拟视听互动系统

2009年6月於北京

2009/5 过期的黑白 Expired Black&White photography

black&white expired film.

shooting at Zhu Jiajiao ,Shanghai.

黑白过期交卷

拍摄于朱家角.上海。

2009年5月

2008/7 North Road L'os Experimental Music

North Road            

by L’ OS

Vocal: Olivier Heux

Music: gogoj

July 2008 Beijing

https://myspace.com/monolos

North Road

L’OS

人声:Olivier Heux

音乐:gogoj

2008年7月於北京

L’OS在法语里是骨头的意思,由gogoj(北京) Olivier Heux(法国) 成立于2008年,音乐创作风格偏向于实验吟游诗歌,噪音宗教仪式。L’OS尝试创造出一些非常自我的语言来阐释存在于现实中的不同空间分隔的游离状态,粗糙的质地和不稳定的吟诵制造出来的是一种黑色的不安。

电脑, 小提琴/ laptop&violin: gogoj

人声,鼓 / drum&vocal olivier

链接:http://site.douban.com/los/

2008/6 来北京当明星 To Become A Star in Beijing installation

To Become A Star in Beijing

double screen

5′ Pal color

6. 2008

The time differences captured and recorded by the camera with

various shuttle speeds under the flashlight show partial images.

The blaze flashing suddenly from darkness is a kind of concern

with violence. The audience have to learn to enjoy the momentary

stimulations on their retina given by the blaze because it dose not

only give beautiful light spectrum, but also explanations to vanity.

This work was installed at the entrance of Art Beijing 2008 .

来北京当明星

双屏录像

5分钟

Pal, 彩色

2008年6月

照相机的闪光灯在摄像机的镜头前以不同的快门速度捕捉记录下的时差,所呈现出的是半祯的光影画面,从黑暗中突然闪烁出的强光是暴力的关注,观者需要学会去享受那一瞬间视网膜对强光袭击的刺激,因为那个瞬间有美丽的光谱,也有对虚荣的阐释。

此作品被安装在2008年的艺术北京影像馆的入口处。

2006/7 枪手 killer photography

killer

photo graphy by light box

枪手

剧情摄影

灯箱装置

2006/4 推 Push installation

Push

split screen on many monitor

B&W, Pal.

2006

A and B stand face to face, A pushes B to produce another B, every push by A will produce a new B and this goes on until all the Bs push A off the screen, The video “push” attempts to capture what is currently occurring in China where creativity is taking a back seat to mere copying. Although numerous individuals are producing works under the banner of creativity, in reality most of the “creative” works are mere copies of what has already been produced. This takes on a life of its own where the copy of a copy overwhelms the senses.

多频矩阵影像装置

黑白,Pal

2006年

A与B面对面站着,A推B而制造出另一个B, 在每一次A的推动下都会产生新的B,依次产生越出画面,最后所有被推出的B一起将A推出了画面。

通过视觉化的无限复制来体现生产与制造的盲目庞大化,最终所带来的失控。

2005/7 中国盆景 Chinese Bonsai video art

Chinese Bonsai
Pal Color
54 second play loop
2005Dali, Yunnan.

中国盆景

Pal 彩色

54

循环播放

2005年於云南大理

2005/5 大罐子 Big Can sound

Big Can Trailler
The Whole Filme Duration: 30′
Big Can Is A Landscape Of Zhujiajiao, And Now

Is Disappeard. Inside Of This Can Is Warm,Closeness, Empty….Feel Like A Big Uterus Singular, There

Are Very Wonderful Sound Field, The Sound Was Echoed, Concentrated And Falled, Every Things Stoped In The Time By The Sound Form, Every Element Inside Shattered And Rebirth. We Are Just Tourist And Using Our Body Sound Communicate With This Strange Space Closed.
This Film Will Be Distribute On Dvd.
2009.5

大罐子 / 片段

Pal 彩色
全片长度:30分钟

2009年5月,上海朱家角。
大罐子是位于朱家角(距离上海一小时车程的江南水乡小镇)的一景,并且现在已不存在。这个废弃的大油罐只有猫着腰才能进入,里面闷热,空荡,象一个巨大的奇异子宫,里面有非常美妙的声场,回旋,聚集,落下,一切都在时间里用声音的方式沉淀下来,一切都是自然的不需要任何后期处理和加工,那些地上残留的油渍也在与声音同时震动着,而我们是一群好奇的游客,用自己的声音去认识这个陌生封闭的空间。
现在已经消失了。

gogoj a.k.a Sheng Jie

born in 1975 . based in Beijing China.

Listen and Watch are tow major element in Sheng Jies work, For make a circulatory system of perception in the space. Export by many form: experimental music, sound, video, painting, film, installation, compose, audio visual art performance etc.

2000, Diploma DNSAP from Ecole Supérieure Des Aat Décoratifs de Strasbourg in France. Currently lives and work in Beijing.

Founded Shan studio in 2010 . Manager of Maybe Ensemble and Founded DOT audio visual art laboratory in 2018.

 

Education:

2000/2005 DNSAP(Diploma National Super Art Practice). Ecole Supérieure Des Arts Décoratifs De Strasbourg , Option Art .

2003 Edinburg Art College ,apartment Film & TV.

Exhibition & Event:

7/2018 Founder of Dotavlab.

5/2018 Manager at Maybe Ensemble.

2016-2018 Film “Ruins”, Executive Director.

7/2016 Exhibition “Change and Breath Drug”, Hunsand Space, Beijing.

7/2015 Exhibition and Resistance in Cologne, Germany

6/2015 film “Myriad Visions Rise From The Void” Projection at China Art Museum.

6/2015 B3+Beijing, CAFA.

3/2015 video work “ Sand Man” select by Cine-corp, France.

3/2015 Solo Exhibition, wushi, Beijing.

10/2014 Tonglagen Electronic festival,Dresden,Germany.

7/2013 Lost In The Labyrinth-Sound Art In China, New York Electronic Art Festival. NewYork.

6/2013 No Difference Floating Exhibition, Beijing.

5/2013 Co-sound art festival,Zhujiajiao, Shanghai.

9/2012 Frishzelle/Early Winds festival 2012, sound & video performance,Cologne, Dusseldorf, Germany.

10/2011 Gravitational Field – 2011 Himalayas Cross-Media Art Festival, Shanghai.

6/2011 The Sound No Where Exhibition, Beijing.

1/2011 FINE TUNING, Homeshop, Beijing.

12/2010 Beyond The Body, Museum of Contemporary Art (MOCA),

Shanghai.

9-11/2010 Dislocate, Artist Residency Program At 3331 Art Chiyoda, Tokyo.

3/2010 Strawberry Jam,Vancouver International Centre for Contemporary Asian Art, Canada.

2/2010 “Scene • Area • Emotion” New Video Media Art Exhibition, Beijing.

10/2009 ‘THERE IS NO I IN TEAM’, Berlin.

3/2009 Sally Can’t Dance, china avant-garde music festival,D22, Beijing.

12/2008 IFA Gallery.

12/2008 Shanghai Shopping Gallery, Shanghai.

10/2008 Shanghai eARTS Festival 2008, Urbanized Landscape, Shanghai.

10/2008 Notche festival 2008, Beijing.

9/2008 Photo Beijing 2008, ArtBeijing, Beijing.

3/2008 Sally Can’t Dance Festival, Beijing.

2/2008 ‘THERE IS NO I IN TEAM’, ISIS Arts and /sLab present , Newcastle, UK.

11/2007 Microwave International New Media Arts Festival, HongKong.

9/2007 Frishzelle/early winds festival 2007, Cologne.

6/2007 BorderLine Festival, Platform China, Beijing .

5/2007 INFANTIZATION, Shanghai Art Museum. Shanghai.

12/2006 Exhibition “eyes on” Beijing –Shanghai.

10/2006 Festival ‘19es instants video’ , Paris,Marseille, Paraguay – Asunción.

9/2006 ZKM (centre for art and meidia),‘totalstadt.beijing case’, Karlsruhe.

1/2006 ‘the window on the street’ Petite Galerie-Aître Sanit-Maclou, Rouen,france.

11/2005 Film Alsace,Strasbourg, france.

3/2005 “TOP POPULAR DRUGS” à La Chauffrie, Strasbourg.

2/2005 “COW COW” à laitrie, Strasbourg.

12/2004 “Mars Person” Art Video Night In Paris.

盛洁(gogoj)生于1975年,北京。

作品以“听”和“看”作为主要的两种基本语言, 通过不同的媒介如:实验音乐,声音,  录像,绘画,电影,装置,  作曲,视听艺术,现场表演等, 将感知的过程进行输出,并探讨其中与空间所构成的场域循环系统。

2000 年留学于法国及英国,2005 年回国生活和工作。

2010 年创办 shan 视听实验室,一个以交流为平台的新媒体艺术私人工作室。

2018年加入以当代作曲为主的乐团Maybe Ensemble担任主要负责人。

同年成立DOT视听艺术实验室。

作品展览於亚洲以及欧美。

 

学历:

2000年-2005年就读于法国斯特拉丝堡高等国立装饰美术学院,艺术系(主修录象艺术)DNSEP(Diplôme Nationnal Supérieur Expréssion Plastique) De L’École Supérieure Des Arts Décoratifs De Strasbourg 获法国国立高等艺术专业硕士文凭。2002年3月交换学生项目三个月,於苏格兰首都爱丁堡美术学院,主修电影电视专业。

近几年展览 & 活动:

2018年7月  ,成立视听实验室DOT

2018年5月  ,乐团Maybe Ensemble负责人

2016年-2018年,电影长篇《废墟》执行导演和后期制作。

2016年7月,展览《第六颗子弹》,拾万空间。

2015年7月,德国科隆驻留项目,展览-发生关系以及演出。

2015年6月,与画家刘商英合作的影像作品《空故纳万境》展于中国美术馆,北京。

2015年6月,北京B3动态影像展,中央美术学院美术馆,北京。

2015年3月,录像作品《沙男》入选Cine-Corps身体艺术电影节-探索亚洲单元,雷恩,法国。

2015年3月,【闲置的实相】小型个人画展,吾十小院,北京。

2014年10月,Tonglagen电子音乐艺术节,德累斯顿,德国。

2013年7月,迭走迷宫,纽约 Harvestworks,美国

2013年6月,无差别-浮游当代艺术展

2013年5月,合声艺术节,朱家角,上海

2012年9月,先风试验音乐节,声音+影像 现场表演,科隆,杜塞尔多夫,德国。

2011年10月,[重力场]2011喜马拉雅跨媒介艺术节,上海。

2011年9月,国际新媒体艺术研讨会,上海。

2011年6月,此地无声,公共空间声音艺术展,北京。

2011年1月,[正音]家作坊,北京。

2010年12月,《弦外》青年女性艺术家影像展,上海当代美术馆。

2010年9月-11月,东京艺术家驻留计划,Dislocate, 3331 Art Chiyoda,日本。

2010年3月,草莓果酱,温哥华亚洲艺术中心,加拿大。2010年2月,亚洲艺术博览会影像单元“场情感”新影像媒体展,北京。

2009年10月,中国当代艺术展“THERE IS NO I IN TEAM”,柏林站,德国。

2009年9月,2009第五界中国宋庄文化艺术节。

2009年8月,过渡时间/穿过《漂移与衰减》实验音乐和实验电影。

2008年12月,上海艺法画廊 Automate。2008年12月,《》上海小平画廊。2008年10月,2008 上海电子艺术节,上海。

2008年09月,艺术北京,2008影像北京,录像装置,北京。2008年02月,中国当代艺术展“THERE IS NO I IN TEAM”,纽卡斯尔,英国。

2007年11月,/形光谱/,2007微波国际新媒体艺术节,香港。2007年09月,先风试验音乐节,声音+影像 现场表演,科隆,德国。

2007年06月,边界线影像节,站台中国,北京。2007年05月,上海美术馆主办“果冻时代”,上海。

2006年10月,法国,19es INSTANTS VIDEO 巴黎.马赛.南美洲.巡展

2006年09月,德国卡尔斯卢数码艺术展。2005年02月,法国斯特拉丝堡录像展。

2004年12月,法国巴黎艺术录象之夜。

shan视听实验室专注于音频和视频的出版,以及相关项目合作,与周边活动消息的发布。

shan audio visual art lab focus on audio & video project cooperation release and activity.

2021/5 一周音乐 A Week of Music analog

A Week of Music is a project that focus on the situation of dual identity in daily life.
The first thing we need to make clear is that the creators of these seven albums are not amateurs.
They have each achieved different successes in the field of experimental music, and a stable social job is a basic guarantee while the real world cannot provide a healthy survival mechanism for this type of music.
Work and time are separated into two versions, one belonging to the public rules and the other to one’s own. When these two sets of rules go hand in hand in the daily routine, it is hard to tell what kind of relationship they present to each other.
[Professional or Hobby] [Minority Culture and Mass Culture] [Experiment and Mature Industry Chains], do these seemingly opposing titles have new answers with the development of the times?
There are many artists with dual identity in China, so we have just selected a few familiar friends to express the concept of “daily” through their works, using a simple and public standard of time like “week”as the theme of creation.
If the word “time”is not developed for the purpose of maintaining a public cooperative production, perhaps it can cease to exist.
-Project initiator & curator :gogoj A.K.A Sheng Jie

A set of seven album on cassette, limit released 100 copies.

Project initiator & curator :gogoj A.K.A Sheng Jie & Ding Xin
This project is supported by Central Academy of Fine Arts
Project Curators: Ding Xin, Sheng Jie
Mixing / Master Production: Wei Guo
Graphic Design: guangyu@ablackcover.com
Translation:Zhu Songjie & VAVABOND(Friday)
Production: Shan Audio Visual Art Laboratory

 

Monday By Junky

Member of Torturing Nurse, started on 2004.04.25 till FOREVER!

From the ShanghaiChina composed of analogue harsh noise/pure noise group, has now done over 256 performances in Mainland ChinaHong KongRepublic of ChinaJapanDenmarkSwitzerlandFranceBelgiumUKSpainGermanyhas been published in various brands including the limited cdrcassettevinylcdect in more than 438 recordings all over the world!!

Album IntroductionA mix up of field recordings andharsh noise cut ups. Monday is the beginning of a new week as well as the infinite loop.

Digital Version link: https://shanavlab.bandcamp.com/album/monday-by-junky-a-week-of-music

 

Tuesday by Maimai

MAI MAI

Film director, experimental musician

1982 ​Born in Xuzhou, Jiangsu Province

2006​Graduated from Shanghai Theater Academy

Works and lives in Shanghai

, MAI MAI formed a noise rock band “Muscle snog” vocal, guitarist and song-writer. Since 2008 he started running an experimental music platform: “R.E.S.O.”, in same year, he commenced his personal experimental music project using this pseudonym “MAI MAI”. During these last five years, “R.E.S.O.” has presented more than 20 concerts, and became the most important stage for Chinese and oversea musicians.

As a filmmaker, MAI MAI had made many short film and video works. In 2013, his short film “Four Cowards” was selected by the 43th Tampere International Short Film Festival (International Competition Section).

Album Introduction

When Tuesday Still Stood For Something

No Tuesday any more

As well as Wednesday and Thursday,

Saturday and Sunday,

They’ve all gone

Everything is poured on everything

Floating

No elegy any more

Elegies were gone

That child woke up in the morning

Thinking about the class schedule of Tuesday

Have some music to like

Have somebody to like

When Tuesday still stood for something

Twenty years ago

I go out everyday

Put effort in riding my bike

Recorded at Oct 2020, Shanghai.

Digital Version link: https://shanavlab.bandcamp.com/album/tuesday-by-maimai-a-week-of-music

 

Wednesday By Mei Zhiyong

Mei Zhiyong , Born in 1984 in Shangdong, China, founder of Fuzz tape label and member of noise group. Mei Zhiyong is one of the most important international noise experimenters and hardware noise instrument DIYERs in China. He is also active in independent film and photography. MeiZhiyong considers noise as the carrier to break all the rules. Only impaling into nothingness can make you get rid of the contradiction between voice and body, and between body and mind. Strong physical action and the obsession of electronic / industrial pieces modification make each of his live performance unique.

Mei Zhiyong has toured in Europe, Japan and China several times since 2014, performed at several experimental music festivals such as Sally Can’t Dance festival, LUFF and MUFF.

Collaborated and performed with many noise musicians all over the world like Torturing Nurse, Dave Phillips, Zbigniew Karkowski, Incapacitants, Makoto Kawabata, Ryosuke Kiyasu and Kazuma Kubota. He is now becoming the new blood of the noise and the experimental music scene in Asia.

Album IntroductionThese recordings were made in three different places: office, workshop, and recording studio. The field recording in the workshop is basically my working environment surrounded by all kinds of machine. In the recording, I used planers and drilling and milling machines, along with some sporadic equipment processing sounds around. In some part of the recording, I put my effect pedals and microphones on these kinds of equipment while some other sounds were made in the studio. The word “week” sounds quite wired for people live in the country town. Everyone is accustomed to rest only when some other things come along, not because of the need to relax. “Noise” is part of my work and life. My sound system is right in the corner of my office. Sometimes I play around during coffee breaks, not at specific times and places. Or maybe, I just leave them there by a glance.

Digital Version link: https://shanavlab.bandcamp.com/album/wednesday-by-mei-zhiyong-a-week-of-music

 

Thursday by Shenggy

ShenggyBorn and raised in Beijing, since 2007, she has been moved to London, continue her music career as a producer and drummer. Shenggy also works for Dover Street Market under the fashion designer Rei Kawakubo.

Album Introduction: I have always been keen to simulate the sounds of synthesizers and various old machines. Their transistors and warm sound quality cannot be copied or replaced. Except for “Gemini”, the 6 tracks you heard all come from a retro analog synthesis sequencer. The musician who has influenced me the most is Laurie Spiegel. She and I have a lot of resonance in composition and identity as a female electronic musician. When the possibility of female composing itself is controversial, we women are more willing to choose electronic music. It allows our creations to be heard by others without being taken seriously by the male-dominated music industry. Instead, we gain more freedom.

Digital Version link: https://shanavlab.bandcamp.com/album/thursday-by-shenggy-a-week-of-music

 

Friday by VAVABOND

Wei Wei, a.k.a VAVABOND, laptop improviser, noise player. Work as college English textbook editor for a publishing company. Beginning from making large volume noise using Max/MSP in 2006, she now concentrates on free improvisation with synthesis and processed electromagnetic signals. By processing meaningless and fragmented sounds in a nonlinear-time approach, she explores the theme of “time and existence” especially in various environmental contexts. Besides solo project, she is also the member of the psychedelic noise group “Vagus Nerve” and free improvised duo “Mind Fiber”.

Album Introduction: Last October, we moved to the outskirts of Beijing, which is more than 30 kilometers away from my office. My job requires me to clock in from 9am to 5pm, so every morning at about 6:30, I would leave my home in the countryside, drive through a short stretch of provincial roads, and then drive along the congested Jingcheng Expressway for an hour or so to arrive at my office located near the Huixin Dongqiao Bridge.

The recording was made around the time of the Frost’s Descent. When I left home, the sky was not yet fully light and the village was not yet fully awake. The car windows were often covered with a layer of dew, so I needed to start the car and turn on the wipers to wipe it several times before I could leave. But when driving past one of the sluice gates of the Jingmi Division Canal, the gauzy mist suspended on the water surface would cling to the windows again. Need to drive for another two minutes, until the temperatures of the car and the outdoor air gradually melt, the fog on the glass would recede. At this moment, the car would pass a large farmland, so big that the whole sunrise could slide unhindered beside the car for five or six minutes.

The provincial road was undergoing road maintenance, so the road was narrow and bumpy. After driving on it for about fifteen minutes, I would get on the highway. Every Friday, it was only on the initial 5km of the highway that you could drive above 100km/h, and then it would go into a long long congestion. The route on the navigation was filled with bright red and dark red, and the time seemed to enter some kind of inexplicable pause — when you first got on the highway, the navigation told you the trip would be about an hour and a quarter; then you drove for more than half an hour, and a glance at the navigation showed that you still needed to drive for an hour and 20 minutes to arrive.

The time was lost.

The car was driving in the void.

I was traveling in the gap between two worlds.

At home, to be a mother; at the office, to do the job. Only on this congested highway, I got a chance to completely let go. At the beginning of such commuting days, I would feel irritated and talk to myself; now, after a long time, I am completely absorbed in the pause of everything. Driving becomes an all-round three-dimensional meditation. I don’t talk to myself any more, or even don’t start any thoughts. Just let the traffic surge on both sides of my head, like those distracting thoughts. The senses belong completely to the body. No words are needed. It feels like I am running through something invisible. But at the same time, the body and the brain are highly sensitive and commune to each other — the signals captured by the vision are quickly mapped out by the muscles of the arms and legs, as if they do not need to be translated by the brain.

The current of the engine running, the airflow outside the car, the bumps and vibrations from the road, the interference signals from the car radio when passing through the high-voltage electricity towers. On such an ordinary Friday, in the confined and narrow space of the car, my reality was diluted, even dissociated, but in the right way.

Digital Version link: https://shanavlab.bandcamp.com/album/friday-by-vavabond-a-week-of-music

 

Saturday by Ruò Tán

Ruò TánBorn in Nanjing and live in France now. He works as a freelance designer and he is also the founder of independent label WV Sorcerer Productions. Music works include “ Stone”, “Live at L’homme Sauvage” and remix tape “STONE RIVVER” etc. His artwork and design appear in many releases of WV Sorcerer Productions.

Album IntroductionAs a freelancer, my perception of days in a week doesn’t clearly distinguish between working days and weekends. For Saturday, what I immediately think of is the origin of its name. In Latin, it’s called “dies Saturni”, in Japanese it’s called “土曜日“, and in English it’s Saturday, which is derived from Saturn. The English name of Saturn comes from Saturnus, the god of agriculture in Roman mythology. The Chinese translation of “Saturn” is named according to the ancient Chinese Five Elements theory and the colors of Saturn observed by human eyes (wood green, gold white, fire red, water black, and earth yellow). In this way, the word “” has some connection with the Western Saturnus, who is the god of agriculture, teaching people to cultivate the land. Saturday is also the last day of each week. The cycle of the week ends on this day and will begin again. The cycle of life and the universe has never been interrupted. Against such a huge background, pictures about Saturdays slowly emerged in my mind. From the land under my feet to the infinite starry sky, these tracks are the reflection fragments of these images.

Digital Version link: https://shanavlab.bandcamp.com/album/saturday-by-ru-t-n-a-week-of-music

 

Sunday by Zhu Songjie

Zhu Songjie, civil servant. Play free improvisation, feedback and other kinds of music mainly on guitar. And he also does some translation work in his spare time. In 2019, his tape “Summer Time Blues” was released and book “Genealogy” translated by Zhu was published.

Introduction: Sunday: the day of service, the day of rest, both the end and the beginning of a cycle. We usually regard Sunday as the end of the week. In local customs and dictionary records, it is customary to regard Sunday as the beginning of the week. The traditional order of the seven lunar days is 日月火水木金土. In the Xinhua Dictionary, it is also said that Sunday is the “first day of the week”. The two sorts are the difference between the head and the tail, but in a circle, the beginning and the end may not be that important, especially when the circle itself is a copy of an impossible thing. The creation of the week is our plan settled for time. It is supposed to capture the one-dimensional flow in a certain cycle, and reality will always disrupt this attempt.

Whatever, Sunday is a day that will be cherished in its entirety, because it is (at least in public perception) a day of rest, and it is immediately followed by five working days. This time, the five songs recorded under the theme of Sunday were consisted of covers and improvisation stuffs. These five songs were either recorded on Sunday, or started to conceive on Sunday, and then slowly finished after getting off work every day. They recorded the emotions I feel at various times on Sunday. There are emotions of calm, nervous, happy, and worried, either pure or complex. However, they are generally relaxed. After all, it is Sunday, day of rest. Although Sunday is the end of the weekend, it doesn’t really matter whether it starts or ends, because it is both.

Digital Version link: https://shanavlab.bandcamp.com/album/sunday-by-zhu-songjie-a-week-of-music

 

 

 

 

 

 

 

 

 

 

一周音乐这个项目是一个关于双重身份在日常生活中的探讨。
首先我们需要明确指出的是:这7张专辑的创作者都不是业余音乐爱好者。
他们各自在实验音乐领域里取得过不同的成就,在现实社会无法为这种类型的音乐提供一个良性生存机制的前提下,一份稳定的社会性工作是基本的保障。
工作与时间,被分离成两套版本,一套属于公共的规则,另一套则属于自己的规则。当这两套规则并行于每天的日常中时,很难说清楚彼此之间呈现着怎样的关系。
【专业还是爱好】【小众文化和大众文化】【实验和成熟的产业链】,这些看似是对立的标题是否在随着时代的发展而有了新的答案?
在国内象这样拥有双重身份的艺术创作者还有很多,我们只是挑选了几位熟悉的朋友,以“一周”这样简单而公共的时间标准作为创作主题,通过他们的作品来表达“日常”这个概念。
“时间”这个词如果不是为了维持一种公共合作生产而制定,也许它可以不存在。
-项目发起 & 策划人:盛洁

此项目为7张专辑一套,限量发行100套。

本项目由中央美术学院学术支持
项目策划:丁昕 & 盛洁
混音/母带制作:魏国
平面设计:广煜@ablackcover.com
英文翻译与校对:朱松杰&韦玮
出品:shan视听艺术实验室

 

专辑名称:周一 by Junky

作者简介: Junky,谋生工作为上海市体育部门工作人员,业余时间制造噪音,2004年组建硬件粗噪音计划Torturing Nurse,组织噪音/声音系列演出NOIShanghai

专辑简介:实地录音采样+硬件噪音拼贴、混音,周一是新一周的开始也是循环往复的起点。

数字版试听下载链接:https://shanavlab.bandcamp.com/album/monday-by-junky-a-week-of-music

 

专辑名称:周二 by 卖卖

作者简介:卖卖,1982年出生于江苏徐州,2002年进入上海戏剧学院戏剧影视文学系,在上海工作、生活至今。编剧、导演、实验音乐家。

专辑简介:

《当周二还意味着什么》

哪还有周二

像周三周四的,

周六周日的东西

都消失了

一切被倒在一起

漂浮着

也没有挽歌

挽歌消失了

那个孩子在清晨醒来

想着周二的课表

有喜欢的音乐

喜欢的人

当周二还意味着什么

二十年前

我每天出门

用力骑车

录制于202010月,上海。

数字版试听下载链接:https://shanavlab.bandcamp.com/album/tuesday-by-maimai-a-week-of-music

 

专辑名称:周三 By 梅志勇

作者简介:梅志勇, 生产食品加工设备,个体经营者。1984 年生于中国山东,是Fuzztape的创始人,也是Nojiji噪音集团的成员。梅志勇是中国最重要的国际噪音实验装置和硬件噪音仪器的设计者之一。他积极参与独立电影和摄影。梅志勇认为噪声是打破一切规则的载体。只有深入到虚无之中,才能摆脱声音和身体、身体和精神之间的矛盾。强烈的身体动作和对电子/工业零件修改的痴迷使他的每一个现场表演都独一无二。自 2014 年以来,梅志勇多次在欧洲、日本和中国巡演,在撒丽不跳舞LUFFMUFF 等实验性音乐节上演出。与世界各地的许多噪音音乐家合作和演出,他现在正成为亚洲噪音和实验音乐的新血液。

专辑简介:录音有三个部分,办公室,车间、录音室,关于机加工车间实地录音,每天的工作环境基本都是跟机械制造关联,录音中用到了刨床和钻铣床,还有周遭的一些零星设备加工的声音,一部分录音我把效果器和麦克风只是放在设备上,另外一部分噪音在录音室完成的,星期这个词汇在县城里生活的人其实挺陌生的,大家习惯有事才会休息,不会因为需要放松而休息,噪音是我工作和生活休闲的一部分,设备就在办公室的角落里,有时茶歇间摆弄一番,而不是在特定的时间地点发声,有时只是看一看。

数字版试听下载链接:https://shanavlab.bandcamp.com/album/wednesday-by-mei-zhiyong-a-week-of-music

 

专辑名称:周四 by 沈静

作者简介:沈静,出生并成长于北京,2007年移居伦敦。

音乐制作人兼鼓手,另外的职位是在时尚设计师川久保玲旗下的Dover Street Market里做管理。

专辑简介:

我一直热衷模拟合成器和各种老机器的声音。它们的晶体管和温暖的音质无法被复制和取代。你们听到的这6首曲目除了” Gemini”其余的全部来自复古模拟合成音序器。

给我影响最大的音乐家是Laurie Spiegel. 我和她在作曲以及女性电子音乐人的身份上有很多共鸣。

当女性作曲的可能性本身引起争议时,我们女性更愿意选择电子乐。它使我们的创作可以有机会被他人听到,而不必被男性主导的音乐产业所认真对待,我们反而获得了更多的自由。

数字版试听下载链接:https://shanavlab.bandcamp.com/album/thursday-by-shenggy-a-week-of-music

 

专辑名称:周五 by 韦玮

作者简介:韦玮,演出代号VAVABOND,笔记本即兴乐手,噪音乐手。全职工作为出版社大学英语教材编辑。早期用Max/MSP软件进行大音量噪音创作,现在的兴趣集中于用自制电感录制的合成和处理信号进行自由即兴创作。通过以非线性时间的方法对大量无意义和细碎的声音进行处理,尤其在各种环境语境中探索时间存在的主题。除个人计划外,也是迷幻噪音乐队迷走神经和自由即兴双人组“Mind Fiber”的成员。

专辑简介:

去年十月,我们把家搬到了离办公室30多公里的北京郊区。我的工作要求朝九晚五地打卡,所以每天早晨大约6:30,我会从乡下的家里出发,开过短短一段省道后,再沿着拥堵的京承高速公路开上一个多小时,到达惠新东桥附近上班。

录音时是霜降前后。出门时天还没完全亮,村子也还没完全醒来。车窗上往往蒙着一层露水,需要把车发动起来,打开雨刮器擦两下才能出发。不过从京密饮水渠的一座水闸上开过时,水面上悬浮着的细纱般的雾气会再次黏附到车窗上来。需要再开个两分钟,等车身的温度与室外空气的温度渐渐融洽,玻璃上的雾气才会退去。这时便会经过一大片农田,大到整个朝阳可以毫无阻碍地在车身旁滑行五六分钟。

省道正在路面维护,路面狭窄而颠簸。在省道行驶一刻钟左右,便上了高速。每个周五,高速上大概只有起初5公里的路段能开到100公里以上的时速,之后便会进入似乎漫长的拥堵。导航上的路线被鲜红色和暗红色注满,时间仿佛进入某种莫名的停顿——刚上高速时,导航告诉你,预计还要行驶一个小时15分钟;然后你开了半个多小时,看一眼导航,显示还要一个小时20分钟到达。

时间丢失了。

车辆行驶在虚无中。

我行驶在两个世界之间的缝隙中。

在家里,要当妈妈;在办公室,要打工。只有在拥堵的高速公路上,实现了完全的放空。刚开始这样通勤的日子,还会感到烦躁,会自言自语;现在时间长了,便完全沉迷于一切的停顿之中。开车变成一种全方位的立体冥想,不再跟自己对话,不再起任何思绪,任由车流如杂念般在头脑两侧涌动。感官完全属于身体,不需要任何语言,感觉自己正穿越某种无形的事物。但同时,身体和大脑又是高度灵敏地契合着——视觉捕捉到的信号迅速地被手臂和腿部的肌肉映射出来,仿佛不需要经过大脑的转译。

发动机运转的电流,车外的气流,路面颠簸带来的碰撞和振动,车载广播中途径高压电塔时产生的干扰信号。在这样的一个普通的周五,在密闭狭窄的车身中,我的现实被稀释、甚至解离了,但恰到好处。

数字版试听下载链接: https://shanavlab.bandcamp.com/album/friday-by-vavabond-a-week-of-music

 

专辑名称:周六 by 若潭

作者介绍:

若潭, 南京人,现居法国。设计工作者,自由职业,独立厂牌WV Sorcerer Productions巫唱片创办人。探求扭曲与原始并存的声音,人、机器、自然三者的吞噬与重生,寻找衰败大都会与宇宙虚空的交汇点,实施无边际的声响萨满仪式。

曾组织和参演中国大陆、台湾和欧洲各国的多个音乐节和巡回演出,包括法国“From Seed To Harvest”、南京噩梦仪式、北京山火集、台北“You Are Not The Target”东方噪音集结欧洲巡演、法国Thoix城堡“Nuit Dark Ritual” 法国比利牛斯山“Homme Sauvage”、德国“Sons Of An Older Cosmos”和中国黑礁幻音等等。合作和同台乐队/音乐人包括Aerial RuinArktau Eos Common Eider/King Eider Hexvessel In Gowan RingIZ Jo Quail、李剑鸿、MhönosNebelung、钱赓、Rosa†Crvx、破地狱、Treha SektoriUVB76、王子衡、Zaliva-D等。

曾出版个人音乐专辑《石 Stone》、《Live at L’homme Sauvage》和Remix磁带《STONE RIVVER》,并参与了巫唱片的大部分平面设计。

专辑简介:

作为自由职业者,我对一周里每一天的感知并没有明确的上班日和周末的分别。对周六这一天,我立刻想到的是它的名字的起源,在拉丁语里,是dies Saturni,日语里是土曜日,而英语里是Saturday,来源于Saturn(土星)。土星的英文名字,又来源于萨图尔努斯,他是罗马神话中的农业之神。而中文的翻译土星,是根据中国古代五行学说和人们肉眼观测到的土星的颜色来命名的(木青、金白、火赤、水黑、土黄)。这样一来,这个字,和西方萨图尔努斯作为农业之神去教导人们耕种土地,又产生了关联。周六,也是每个星期的最后一天,一周的循环,在这一天结束,又会开始。生命和宇宙的循环,也没有间断过。在这样庞大的背景下,我的脑中慢慢浮现出关于周六一个个的画面,从脚下的土地,到无限的星空,这几首曲目,也是这些意象中的片段。

数字版试听下载链接:https://shanavlab.bandcamp.com/album/saturday-by-ru-t-n-a-week-of-music

 

专辑名称:周日 By 朱松杰

作者简介:朱松杰,公务员。以吉他为主演奏自由即兴、反馈和其他音乐,同时也做些翻译。发行磁带有《夏日时光布鲁斯》,译有《谱系》等。

专辑简介:周日,星期天,礼拜日,休息日,一个循环的终结与开始。我们通常把周日看作是一周的结束,而在各地习俗以及词典的记录中,习惯把周日看作是一周的开始。传统七曜日的排序是日月火水木金土,在《新华字典》里,也说星期天是一周的第一天。两种排序是头尾之差,不过在一个圆里,开头和结尾或许也没那么重要,尤其当这个圆本身是对一个范本,对一个不可能之物的临摹的时候。创造星期是我们对时间的谋划,是要把单向度的流动框定在某种循环里,而现实总是会打乱这种尝试。不过无论如何,周日是个会被完整地珍惜的一天,因为这(至少名义上)是个休息日,而且是个紧接着五个工作日的休息日。这次以周日为主题录的这五首曲子,有翻弹,也有即兴的内容,或是在当天录完,或是在周日起意构思,然后每天下班后回家慢慢完成。它们记录了我在周日的各个时段所感受到的情感,有平静、紧张、快乐和忧虑,或纯粹或复杂,不过,总体而言还是松弛的,毕竟这是周日,是休止符。周日虽说是休止符的终点,但倒也无所谓开始或结束,因为它两者皆是。

数字版试听下载链接:https://shanavlab.bandcamp.com/album/sunday-by-zhu-songjie-a-week-of-music

 

 

2020/3 专辑[卵生] Oviparity electronic cello album
The album was recorded in the winter of 2018. I always feel that the cello is a kind of instrument that is full of sorrow and narration, like an aged intoning the past repeatedly and sadly alone. In my ordinary work, the concept of “narration” is always excluded on purpose. Or, it is taken as a part that I don’t want to deal with but have to. Thus, the cello, which is particular but unitary for me, can express a kind of true emotion which is very “clumsy”, because true emotions always seem to be clumsy by being direct and parched. This album emphasizes the concept of “performer”, which refers to the one, the fingers, the power and the immediate state of the breath when playing the instrument, without overmuch decoration and editing, or splendid and adept performing skills. Each track was performed and recorded from start to finish once and once again, in which some mistakes were retained and chosen reasonably. The name of each track is made from the names of gods in Bon religion. Those gods are the creators of the beginning of the universe. Their original form is egg, which transformed into space. The time and space structure they created was bulks of passivity. That’s Bon religion’s descriptions of the universe and the world. If certain cognition of forms must be given to gods and time and space, the best description that breaks the linear conception would be the space of “passivity”, in which music was born. The world view of oviparity is full of uncertainty. It grows and dies under a set structure of bulk. 
-翻译:韦玮 / 校对:丁昕
https://gogoj.bandcamp.com/album/oviparity
https://wvsorcerer.bandcamp.com/album/oviparity
https://maybenoise.bandcamp.com/
MN 003/WV039: gogoj a.k.a Sheng Jie – Oviparity
Composed and electronic cello performed by gogoj a.k.a Sheng Jie 
Recorded by gogoj a.k.a Sheng Jie in Beijing, China, 2018.
Mixed and mastered by Cyril Meysson, In Saint-Etienne, France, 2018
-Printed and manufactured in Europe
-Reverse-board heavy cover, 3-spines, printed with Pantone® silver metallic ink
-12″ Black vinyl
-Limited edition of 300 copies, hand-numbered.
Vinyl photo by Fu Xiuliang
盛洁gogoj首张专辑-[卵生]
300张12寸黑胶
由Maybe Noise与WV Sorcerer Productions 巫唱片联合发行
这张专辑录制于2018年的冬天,我一直觉得大提琴是一件悲情并总在叙事的乐器,象一个老者独自深情的反复吟诵着一些过往。而在我日常的创作中“叙事”的概念又总是被刻意的排斥,或者说是一种不想触及但又不得不去理会的部分。于是,用这样一件对我来说具体又单一的乐器去演奏可以表达出一种很“笨”的真情,因为“真情”看起来总是直接炙热的笨拙。这张专辑强调了“演奏者”这个概念,就是人,手指,力量,以及呼吸在演奏乐器时所产生的当下状态,没有过多的修饰和截取复制,也没有精彩熟练的演奏技巧,每一轨音频几乎都是一遍又一遍的通条演奏并录制,这其中保留了一些失误,并做了合理的挑选。每一首曲名来自苯教中的神名,他们是宇宙之初的创世之神,他们的初始形态是一个个的卵,转而生成一个个的空间,他们创造出的时空组成关系是钝态的块状,这是苯教对宇宙和世界的描述,如果一定要给神和时空加以形态上的认知,那么“钝态”的空间是打破了线性概念最好的表述,就此音乐也产生了。卵生的宇宙观充满了不确定性,在一种搭建好的块状结构下自由生灭。
-盛洁gogoj
https://gogoj.bandcamp.com/album/oviparity
https://wvsorcerer.bandcamp.com/album/oviparity
https://maybenoise.bandcamp.com/
MN 003/WV039: 盛洁gogoj 专辑-《卵生》Oviparity
Maybe Noise 与 WV Sorcerer Productions 巫唱片联合发行
12寸黑胶,300份。
作曲/电子大提琴演奏/录音:盛洁gogoj ,于北京2018年。
混音及母带:Cyril Meysson, 法国,圣艾蒂安,2018年。
设计:吴清予
专辑封面的印刷使用了潘通专色金属银色
黑胶唱片实体照片摄影:傅秀良
2019/4 出界的午睡 compose
2015/12 废墟的塔 Pyramid Of Ruins audio visual art

Pyramid Of Ruins

material: ceramics, wood.

An audio visual art work《Ruins face》 inside of this object pyramid, connect a tele for watch this video art work.

15 pieces limit edition.

Dec 2015. Beijing.

废墟的塔

材料:陶瓷,黑檀,黑酸枝

将我的一个视听作品《江公馆》封装在陶瓷和木结合的金字塔里,让此器物成为一个循环播放器。

手工制品,15件限量出售。

2015年12月,北京