拾萬石家庄 | 即将展出 | 啸声考：一项声音调查展览
拾萬当代艺术中心（石家庄）非常荣幸地将在2023年8月12日呈现艺术家群展，啸声考：一项声音调查展览。
Hunsand Center for Contemporary Art is delighted to present a group exhibition, “Ulultronica: A Sonic Survey Exhibition”，starting from August, 12, 2023.
出品方：古务运动
策展人：蒋竹韵
艺术家：Itziar Okariz、李剑鸿、李明、万能青年旅店、徐程、张培力
展期：2023年8月12日 - 2023年9月30日
呼啸以其高音调、远程振幅、超长的气息和响亮音量为特征，这种人声的表现形式存在于各地的声音文化当中，他们各自对呼啸的文化理解则大相径庭。在一些文化中，呼啸是表达哀悼、喜悦，或作为祭祀的媒介；也有人将呼啸从声音实践转化为一种精神和内在的实践。本计划是杭州艺术家蒋竹韵发起的一项长期策展与研究项目，项目的第一部分展览预计在石家庄的拾萬当代艺术中心举办，并陆续有更多文化工作者参与其中。
项目最初的灵感源于过去三年间出现的声音场景的观察。此外，石家庄的独立摇滚乐队，万能青年旅店的单曲《河北墨麒麟》围绕太行山的地质叙事展开创作，其中的呼啸声，也打开了人们探索这种逝去的声音品质的推想空间。中国关于呼啸的文字记录可以追溯到数千年前，因魏晋时期文人阮籍（公元210-263年）而盛行一时。歌曲中的非人类角色，也为我们提示呼啸意在以人声超越人类特性的意涵。
在拾萬当代艺术中心举行的第一部分展览将聚焦在声音艺术家对俗称“啸叫”的声音系统反馈效果的使用和理解，艺术家将回授纳入作品中，以创造一种超越性的视听场景。艺术家张培力的作品《碰撞的和声》（2014），便以动力声音装置的方式探索回授效果。相比于张培力布置下正面对峙的音源，李明的录像作品《“《反馈》”》（2018）则将5台不同视角的闭路监视器布置在他当时的工作室空间中，让这些录像本身不仅仅是展示视觉反馈的现场，自身也在反馈的回路之中。被这些录像回路围绕，艺术家的表演身体，最终将能够超越反馈的回路。声音艺术家徐程的《风鸣》（2016）以环境中的废弃材料，制作成发声器，悬挂在空间中，播放合成声效。艺术家使用这一设备录制了音轨，呈现自然环境声与合成声效透过废弃的人造物品进行声波互动。实验乐手李剑鸿的《院子里的回授》（2021）将田野采集的空间带到了不属于室内，却也不纯然属于室外的环境。在院子里，自然之声更加细微，部分电路干扰声则带着听者进入这种微观的世界。李剑鸿如此形容道，透过这张专辑：他希望自己是生活在院子中的一只虫子，成为生态的一部分。在上述这一系列对失控声效（啸叫）的创造性使用中，控制与逃逸的关系，对我们理解呼啸的社会角色，以及思索呼啸的消失而言，至关重要。
西班牙艺术家 Itziar Okariz 的作品让我们看到一个在跨文化空间中思考呼啸声音表现的可能性。沿着这条线索，从巴斯克山区的irrintzi，我们可以看到希伯来语的tsahalulim，阿尔卑斯山地区的Glogge-Yodel，以及阿拉伯语的zaghrouta，都是在本地所流行的呼啸文化。研究指出，在16世纪至17世纪欧洲，厌女症和东方主义的影响曾引发了一段排斥非洲啸声文化的历史过程；然而，到了20世纪后半叶，喀麦隆的反殖民女性抗争却又曾发展出所谓啸声团结的抗争技巧。而在这些跨文化的比较之中，最有意思的莫过于回头参照中国声音理论的阐释，其中，台湾作家陈纪仁与许雅筑对于成公绥《啸赋》的解读，更是彻底将呼啸视为一种“精神的隐逸”。通过将历史和当代表现形式进行对比，这个系列性的调查展览旨在唤起多种声音宇宙观，并且阐明啸声的政治意义，提供替代视角。
Characterized by its high-pitched tonality, far-reaching amplitude, extended duration, and resounding volume, the ululating manifestation is present in various aural cultures, and each of them interprets the ululation's significance differently. In some cultures, ululation is used to express mourning, joy, or as a medium for ceremonies and rituals. Others transform ululation from a mere sound practice into a spiritual and internal practice. The project, inaugurated at the Hunsand Center for Contemporary Art in Shijiazhuang, is a perennial curatorial endeavor conceived by Hangzhou-based artist Jiang Zhuyun, with the participation of additional cultural practitioners in subsequent stages.
The initial inspiration for the project came from the prevalent presence of piercing voices over the past three years of lockdown. Additionally, the single "Hebei Moqilin" by the band " the Omnipotent Youth Society" unfolds its creative narrative around the geological storytelling of the Taihang Mountains. The vocal endeavor has provided contemplation on the speculative realm of this bygone vocal quality. Notably, Chinese records on ululation (啸) date back thousands of years, with its initial popularity attributed to the literati Ruan Ji (A.D. 210–263). The non-human characters in the song also serve as a reminder that ululation aims to transcend human attributes through human voices.
In the first instalment of the exhibition, the focus will be on the sound artists' utilization of audio feedback, commonly referred to as "howling." The artists incorporate feedback into their works to create a transcendent audiovisual experience. In Zhang Peili's artwork "Collision of Harmonies" (2014), he explores the feedback effect through a dynamic sound installation, positioning audio sources in direct confrontation. In contrast, Li Ming's video work "《“《Feedback》”》" (2018) places five closed-circuit monitors from different angles in his studio space, transforming the videos themselves into not just a display of visual feedback but also part of the feedback loop. Surrounded by these video loops, the artist's performative body is eventually able to transcend the feedback loop. Sound artist Xu Cheng's "Cries of Wind" (2016) utilizes discarded materials from the environment to create sound emitters suspended in space, emitting synthesized sound effects. He records soundtracks using this equipment, presenting the interaction of natural environmental sounds and synthesized sound effects through discarded man-made objects. Experimental musician Li Jianhong's "Feedback in the Courtyard" (2021) brings the collected soundscapes to an environment that is neither entirely indoors nor entirely outdoors. In the courtyard, natural sounds become more subtle, and some electrical interference sounds lead the listeners into this microcosmic world. Li Jianhong describes it as hoping to become a part of the ecosystem, like a bug living in the courtyard, through this album. In this series of creatively using uncontrollable sound effects (ululation), the relationship between control and escape is crucial for understanding the social roles of ululation and contemplating its disappearance.
The curatorial project extends beyond the temporary exhibit and delves further into the politics of historicization and the transcultural nature of ululation. The works by Itziar Okariz served as a key catalyst for our investigation of ululation into a transcultural space, where it takes on a myriad of forms and names emerge, such as Mdiras in the indigenous Seediq community of Taiwan, tsahalulim in Hebrew, Glogge-Yodel in the Alpine region, irrintzi in the Basque region, and zaghrouta in various Arabic-speaking regions. Historical accounts suggest that during the 16th to 17th century in Europe, the growing influence of misogyny and orientalism is believed to have played a role in marginalizing African ululation culture. On the other hand, in the latter half of the 20th century, particularly during the peak of anti-colonial resistance in Cameroon, a distinct form of feminist struggle known as "ululation solidarity" emerged. Among these cross-cultural comparisons, the most intriguing lies in the retrospective reference to Chinese sound theory, particularly the interpretations of Cheng Gong Sui's "Ode to Ululation" by Taiwanese writers Chen Jiren and Xu Yazhu, who thoroughly regard ululation as a "spiritual seclusion." By juxtaposing historical and contemporary manifestations, this series of investigative exhibitions aims to evoke various sound cosmologies and elucidate the political significance of ululation, offering alternative perspectives.
艺术家：李剑鸿、丁晨晨
演出时间：2023年8月11日 周五20:30
郊眠寺「平原午休」联合拾萬当代艺术中心，荣幸邀请到中国实验音乐家李剑鸿与丁晨晨，于8月11日（星期五）晚在TOWNPLE麦忘馆联合带来实验噪音与前卫即兴特别专场——尘埃四起，这将是他们在石家庄首次演出。
回授（Feedback）是此次专场的动机，源于李剑鸿曾在法国一场演出中，用吉他回授营造了整场烟雾缭绕的音域氛围。作为声响技术的回授，也是艺术家观念的声音，作为次日在拾萬当代艺术中心《啸声考：一项声音调查展览》的开幕前奏，此次演出也将与展览相辉映。
Address: TOWNPLE | Commercial Space East Side of Shijiazhuang Central,, Qiaoxi District, Shijiazhuang,Hebei Province
Cable Temple, in collaboration with Hunsand Center for Contemporary Art, is delighted to invite Chinese experimental musicians Li Jianhong and Ding Chenchen for a special experimental noise and avant-garde improvisation event titled "Rising Dust" on August 11 (Friday) evening at TOWNPLE. This will be their first performance in Shijiazhuang.
The inspiration for this event stems from the concept of "Feedback," as Li Jianhong once used guitar feedback to create an immersive soundscape of swirling smoke during a performance in France. Feedback, as a sonic technique, embodies the artists' conceptual sound. As a prelude to the exhibition " Ulultronica: A Sonic Survey Exhibition" which opens at Hunsand Center for Contemporary Art the next day, this performance will resonate harmoniously with the exhibition.
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