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已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。
展览现场｜Exhibition View
部分作品图及细节图｜Selected Artwork Images and Details
一间回授体验的空间，由出品方古务运动特别策划。其中包含了镜像回授的视觉装置，回授原理装置《音井》，以及由捷克模块厂牌BASTL INSTRUMENTS 根据回授原理设计的模块DARK MATTER（暗物质）。A space for feedback experiences, specially curated by the production party Easternization Movement . It includes a visual installation with mirrored feedback, a feedback principle device "Sound Well," and modules designed according to the feedback principle by the Czech modular brand BASTL INSTRUMENTS, known as DARK MATTER.
万能青年旅店 | The Omnipotent Youth Society河北墨麒麟呼啸部分 | Ululating Section of "Hebei Moqilin"数字音轨 | Digital Soundtrack人声原始录音 | Original Vocal Recording
播放音轨的人声来自石家庄独立摇滚乐队万能青年旅店专辑《冀西南林路行》中的单曲《河北墨麒麟》。歌曲围绕太行山的地质叙事展开创作，其中的呼啸声，打开了人们探索这种逝去的声音品质的推想空间，在歌曲中，以非人类角色，为我们提示呼啸意在以人声超越人类特性的意涵。
The vocal track played is from the single "Hebei Moqilin" by the independent rock bandThe Omnipotent Youth Society from their album "Journey of Jixi’nan". The song revolves around the geological narrative of the Taihang Mountains, and the ululating sound therein opens up a speculative space for exploring this vanishing sonic quality. In the song, with the help of non-human characters, the ululating suggests a meaning that surpasses human characteristics through human voices.
院子里的回授 | Feedback in the Courtyard数字音轨 | Digital Soundtrack
下午五点半，喜马醒了，在我的紫苏上撒了一泡尿 9 min. 36 sec.
夜里近10点了，母亲还在咳嗽 10 min. 33 sec.
不想收拾玩具的孩子们 7 min. 21 sec.
Five-thirty in the Afternoon, Sima Woke Up and Peed on My Perilla 9 min. 36 sec.
Nearly 10 at Night, Mother Is Still Coughing 10 min. 33 sec.
Children Who Don't Want to Tidy Up Their Toys 7 min. 21 sec.播放音轨选取自李剑鸿个人独立出版的《院子里的回授》。专辑将田野采集的空间带到了不属于室内，也不纯然属于室外的环境。在院子里，自然之声更加细微，部分电路干扰回授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。The played soundtrack is selected from Li Jianhong's independently published album "Feedback in the Courtyard". The album brings the field-collected ambience into an environment that neither belongs indoors nor purely outdoors. In the yard, natural sounds become more subtle, while some circuit interference feedback sounds immerse the listener in this microcosm. Li Jianhong describes it as a wish to be a bug living in the yard, becoming part of the ecology.徐程 | Xu Cheng
风鸣 | Cries of Wind
声音装置 | Sound Installation
受到 Roland Kayn 将控制论（Cybernetic) 运用于音乐，即让音乐在反馈系统中自我调节的启发，艺术家通过来自环境中的废弃材料制作共鸣器，悬挂在空间中，合成播放这个“可以自己运行的声音系统”，专辑《风鸣》正是通过这件声音装置记录了自然环境声与合成声所进行的声波互动。
Inspired by Roland Kayn's application of cybernetics to music, allowing music to self-regulate in feedback systems, the artist creates resonators from discarded materials in the environment, hanging them in space, and synthesizing this "self-operating sound system." The album "Cries of Wind" captures the interaction of natural ambient sounds with synthetic sound through this sound installation.碰撞的和声 | Collision of Harmonies装置影像记录 | Installation Video Documentation
影像记录了动力装置运行过程：一个横跨展厅的金属轨道上，两个老式高音喇叭的滑动，左边（男声）右边（女声），同时唱着练习和声，随着高音喇叭之间的距离变化，靠近时出现反馈的啸叫，反之退却。地面的灯光，在啸叫的高潮，同时戏剧性点亮。往返的轨迹，练习的和声，以及所产生啸叫，是隐喻性的符号，也是艺术家对于碰撞发生的另类想象。
The video documents the operation of a kinetic installation: two old-fashioned high-frequency loudspeakers sliding on a metal track across the exhibition hall, left (male voice) and right (female voice), practicing harmonies. As the distance between the loudspeakers changes, feedback ululations emerge when they get closer and recede when they move apart. Ground lights dramatically illuminate during the climax of ululations. The back-and-forth trajectory, the practice of harmonies, and the resulting ululations serve as metaphorical symbols, offering an alternative imagination of collisions.
《“《反馈》”》 | 《“《Feedback》”》Single-Channel 5-Screen High-Definition Video
艺术家将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的艺术家的表演身体，最终将能够超越反馈的回路。
The artist places 5 closed-circuit monitors with different perspectives in his studio space, turning these videos not only into displays of visual feedback but also embedding them in the loop of feedback. The artist's performative body, surrounded by these video loops, eventually transcends the cycle of feedback.
Itziar Okariz
Irrintzi. Repetition 90, 91, 92, 93, 94, 95, 96
单通道录像 | Single-Channel Video
6 min. 25 sec
2001-2002
作品记录的是艺术家反复发声和录音，然后用耳机回听的过程。从技术上理解，即是一个发生在回路中的反馈过程。艺术家在作品中使用了 irrintzi（西班牙巴斯克山谷中的一种高音调啸声），这种古老悠远的声音最初是作为一种交流手段，而后被视为身份认同的一种元素，让艺术行为成为一种自我的身份建构的技术。同时涉及身份建构的主题，始终贯穿于她的许多作品中。The work documents the artist repeatedly vocalizing and listening to recordings with headphones. Technically, it's a feedback process occurring within a loop. The artist employs irrintzi (a high-pitched whistle from the Basque Valley) in the work, originally a means of communication, later becoming an element of identity. This ancient sound technique turns artistic behavior into a construction of self-identity. Themes related to identity construction consistently weave through many of her works.
技术支持：郊眠寺
海报设计：阮千瑞
摄影：康韶旋、刘博明
特别鸣谢：欧阳昆仑
相关链接：
拾萬石家庄 | 即将展出 | 啸声考：一项声音调查展览
相关链接：
拾萬北京｜展览现场｜刘国强：集中的涣散
“消失的展览”参展艺术家刘国强
刘国强 | 寻找抽象的边际
关于《图形》｜刘国强的装置与影像
相关链接：
拾萬杭州 | 即将展出 | 蓝图
拾萬空间（北京）于2014年成立于北京草场地艺术区，2018年迁至北京798艺术区，并于2021年年底开设石家庄分馆拾萬当代艺术中心，于2023年在杭州龙坞开设分馆。拾萬空间（北京）作为专业画廊，对常规意义的方盒子展览保持警惕，意欲从当代艺术语言中的语法和语意结构出发并将之延展到更广泛的领域；希望通过持续的展览和项目，激发出当下文化中被忽视的部分，将当代艺术思想的价值生发到你我的身边。拾萬当代艺术中心（石家庄）为艺术综合体，除继续推出专业的艺术展览外，还将提供公教、讲座、艺术工作坊、艺术商品以及餐饮等活动和服务，并依托地缘差异，将艺术、声音融入地理、人文的维度，由而体验与追寻传统与现代、本土与国际、在地与全域、个人与历史以及精神与实体之间的差别与关联，让当代艺术思想进入更多人的生活。Hunsand Space (Beijing) was established in Caochangdi Art District in 2014, relocated to the 798 Art Zone in 2018. At the end of 2021, Hunsand Center for Contemporary Art (Shijiazhuang) was opened in Shijiazhuang. In 2023, Hunsand Space (Hangzhou) was founded in Long Wu, Hangzhou. As a professional gallery, Hunsand Space (Beijing) keeps vigilance in presenting art exhibitions with conventional way in white cubes, aiming to take the semantics and syntax from the language of contemporary art as a point of departure and expand them into a broader field. Through its vigorous programs of exhibitions and projects, Hunsand Space (Beijing) hopes to stimulate the neglected aspects in contemporary culture and brings the values of contemporary art into our lives. In addition to exhibiting contemporary art exhibitions, Hunsand Center for Contemporary Art (Shijiazhuang) as an art complex is dedicated to presenting public programs, lectures, art workshops, art merchandise, catering and many other activities and services. Relying on geographical differences, the Center's mission is to integrate artistic and audible practices into geographical and humanistic dimensions, by which to experience and pursue the differences and connections between being traditional and modern, local and international, on-site and territorial, personal and historical, spiritual and physical, bringing the ideas of contemporary art into more people's lives.
周二-周日 TUE-SUN 10:30-18:30石家庄画廊开放时间 Opening hours ：
周一-周日 MON-SUN 10:00-19:00周二-周日 TUE-SUN 10:30-18:00（冬季）11:00-19:00（春夏秋）微信 | WeChat: hunsandspace