王 仲 堃 Wang, Chung-Kun
王仲堃的聲音作品具有一種音樂性,刻意把「聲音」的抽象性 解放出來,轉化為較為具象的音樂。對作者而言,聲音作為一 種概念的傳達,必須從對其意義及內涵理解;而音樂的情感表 達能融入一種真實情境讓我們從中感受。用心理層次來看,透 過聲音與音樂之間的流轉,聽者得以以理性、邏輯的方式去掌 握聲音,同時以感性與體驗的方式去感受音樂,作品就是存在 一種體驗式的感知,但這無非意味著聲音不能用語言翻譯,它 只能成為它本來的東西。 而在創作發展的數年間,同時也與不同領域的朋友成立了「噪咖藝術」,作品結合了數位科技與藝術的思維,多在各種公共空間與博覽會場地,創作平易近人的機械互動樂器裝置。主要期望能將數位藝術的作品推展至生活所及的場域,也同時回應了我在藝術專業領域必有其崇高不容侵犯的限制。
Born in 1982, Taipei-based Chung-Kun WANG works across media art in the development of sound, sculpture, video, kinetic art and installation. He has created various forms of machinery that have consistently maintained an intriguing purity and peculiar sense of beauty. As viewers approach the work these machines operate on their own – making sound, switching on and off, exhaling, spinning or twinkling – each creation with its own variation of rhythm and multiple actions. The sound art of Chung-Kun Wang possesses a musicality, consciously liberating the abstract nature of sound and converting it into a more concrete form of music. For the artist, sound serves as a means to convey concepts; one must start by comprehending its meaning and implications. And the emotive expression of music is able to incorporate real scenarios, which we are able to feel. Viewed at a psychological level, through the interflow between sound and music, the listener grasps the sound rationally and logically yet also feels the music viscerally and experientially. Thus, an experiential perception exists within the work. Yet this is nothing other than the implication that sound cannot be translated into language, but can only become the thing it intrinsically is. The work causes visitors to sense the presence of shapeless sounds within a space, and sounds express the materiality of the space, which has a shape. When visitors move around in the vicinity of the work, they can feel with their own bodies an aural space, which in fact comprises a dynamic sound image.
Born in 1982, Taipei-based Chung-Kun WANG works across media art in the development of sound, sculpture, video, kinetic art and installation. He has created various forms of machinery that have consistently maintained an intriguing purity and peculiar sense of beauty. As viewers approach the work these machines operate on their own – making sound, switching on and off, exhaling, spinning or twinkling – each creation with its own variation of rhythm and multiple actions. The sound art of Chung-Kun Wang possesses a musicality, consciously liberating the abstract nature of sound and converting it into a more concrete form of music. For the artist, sound serves as a means to convey concepts; one must start by comprehending its meaning and implications. And the emotive expression of music is able to incorporate real scenarios, which we are able to feel. Viewed at a psychological level, through the interflow between sound and music, the listener grasps the sound rationally and logically yet also feels the music viscerally and experientially. Thus, an experiential perception exists within the work. Yet this is nothing other than the implication that sound cannot be translated into language, but can only become the thing it intrinsically is. The work causes visitors to sense the presence of shapeless sounds within a space, and sounds express the materiality of the space, which has a shape. When visitors move around in the vicinity of the work, they can feel with their own bodies an aural space, which in fact comprises a dynamic sound image.
作品 Works
《傾倒時刻》複合媒材,天上雨棒組,總長約6m,牆上雨棒組,每支長度約0.5-1.2m,2022
Falling Moment, Mixed media, Rain stick group in the sky: 6m, Rain stick group on the wall: 0.5-1.2m each branch, 2022
四台DMX捲揚機,總重約30公斤。
看見雨聲:觀看與聲音的聯覺是如此的緊密,究竟是看見聲音還是聽見聲音?不如我們就讓雨棒樂器變透明吧!除了裝置在空中飛舞的雨聲之外,也讓觀眾可以在表演者的帶領下,接觸雨聲落下的體驗。此作移植了音樂劇場演出「凱吉一歲」的裝置。希望讓聲音的發現之旅離開舞台繼續發聲。
Four DMX winders, approximately weight 30kg.
Seeing the rain: the synesthesia between watching and sound is so close. Do you see or hear the sound? Let's make the rain stick instrument transparent! In addition to the installation of the rain flying in the air, it also allows the audience to get in touch with the experience of rain falling under the guidance of performers. This work transplanted the device of the musical theater performance “M.O.V.E. Theatre Dear John”. Wishing the journey of sound discovery would continue to sound after leaving the stage.
Falling Moment, Mixed media, Rain stick group in the sky: 6m, Rain stick group on the wall: 0.5-1.2m each branch, 2022
四台DMX捲揚機,總重約30公斤。
看見雨聲:觀看與聲音的聯覺是如此的緊密,究竟是看見聲音還是聽見聲音?不如我們就讓雨棒樂器變透明吧!除了裝置在空中飛舞的雨聲之外,也讓觀眾可以在表演者的帶領下,接觸雨聲落下的體驗。此作移植了音樂劇場演出「凱吉一歲」的裝置。希望讓聲音的發現之旅離開舞台繼續發聲。
Four DMX winders, approximately weight 30kg.
Seeing the rain: the synesthesia between watching and sound is so close. Do you see or hear the sound? Let's make the rain stick instrument transparent! In addition to the installation of the rain flying in the air, it also allows the audience to get in touch with the experience of rain falling under the guidance of performers. This work transplanted the device of the musical theater performance “M.O.V.E. Theatre Dear John”. Wishing the journey of sound discovery would continue to sound after leaving the stage.
《聲瓶蹺蹺板》互動聲音裝置,單座長220cm x 寬60cm x 高180cm,2022
Seesaw of Sound, Interactive sound installation, 220cm in length, 60cm in width, 180cm in height, 2022
聲瓶蹺蹺板:聲音藝術家仲堃第一件機械發聲的自製樂器,過往以現場即時操弄,並配合數位自動化程式,製造屬於未來的即興聲響。如今試著將靈魂注入,並加入了蹺蹺板機關,使參與者直接介入聲音製造的環節,身體的參與直接成為表演的一部分。
“Seesaw of Sound” is sound artist Wang, Chung-Kun's first self-made musical instrument with mechanical sound, which used to be manipulated on the spot immediately, and cooperated with digital automation programs to create impromptu sounds belonging to the future. He now tries to inject the soul and join the seesaw mechanism, so that the participants can directly get involved in the sound production, and the take part of the body becomes a part of the performance.
Seesaw of Sound, Interactive sound installation, 220cm in length, 60cm in width, 180cm in height, 2022
聲瓶蹺蹺板:聲音藝術家仲堃第一件機械發聲的自製樂器,過往以現場即時操弄,並配合數位自動化程式,製造屬於未來的即興聲響。如今試著將靈魂注入,並加入了蹺蹺板機關,使參與者直接介入聲音製造的環節,身體的參與直接成為表演的一部分。
“Seesaw of Sound” is sound artist Wang, Chung-Kun's first self-made musical instrument with mechanical sound, which used to be manipulated on the spot immediately, and cooperated with digital automation programs to create impromptu sounds belonging to the future. He now tries to inject the soul and join the seesaw mechanism, so that the participants can directly get involved in the sound production, and the take part of the body becomes a part of the performance.
《搖擺笛 - #2》複合媒材,直徑6.6m、高度3.5m,2021
Swing Flute - #2,Mixed media, 6.6m in diameter, 3.5m in height, 2021
王仲堃長期專注於造聲機械的研究,不斷思索著如何以更直覺的介入,創造出單純且好玩的體驗,本次作品從作者自身的記憶發想,嘗試將觀眾的參與,轉化為聲響機械的動力。有別於傳統鐘擺式的單軸,作品的軸心設計成萬向的十字結構,讓這件象徵童年的作品成為能前後左右任意擺動的新鞦韆。作品上方設置了鼓風汲筒及直笛,這些以不同音高的指法來調音,環繞於轉盤一圈的七十二支笛子,將透過觀眾的恣意乘坐,隨機演奏出預先譜好的音程,這個在摸索中創造樂趣的過程,隱含著用心感知聲響的意念,作者認為,出現在日常中的各種聲音,在尚未意義化前,都可能只是不斷消逝的美好,但每當我們經驗到令人熟悉的風時,即便常難以言喻,卻總能成為叫出我們某一段生命經驗的傳送座標。
Wang, Chung-Kun has been focusing on the research of sound-making machinery for a long time. He constantly thinks about how to create a simple and fun experience with more intuitive intervention. This work starts from the artist's own memory and tries to turn the audience's participation into the power of sound machinery. Different from the traditional pendulum-style single axis, the axis of the work is designed as a universal cross structure, which makes this childhood work a new swing that can swing back and forth, left and right at will. There are air pump and flutes on the top of the work, which are tuned by fingering with different pitches, and 72 flutes circle the turntable. Through audience's wanton ride, a pre-scored interval is randomly played. The pleasure created in this exploration implies the idea of perceiving sound with your heart. The author believes that all kinds of sounds that appear in daily life may just disappear before they are meaningful, but whenever we experience a familiar wind, even though it is often unspeakable, it can always become the transmission coordinates that call out a certain period of our life experience.
Swing Flute - #2,Mixed media, 6.6m in diameter, 3.5m in height, 2021
王仲堃長期專注於造聲機械的研究,不斷思索著如何以更直覺的介入,創造出單純且好玩的體驗,本次作品從作者自身的記憶發想,嘗試將觀眾的參與,轉化為聲響機械的動力。有別於傳統鐘擺式的單軸,作品的軸心設計成萬向的十字結構,讓這件象徵童年的作品成為能前後左右任意擺動的新鞦韆。作品上方設置了鼓風汲筒及直笛,這些以不同音高的指法來調音,環繞於轉盤一圈的七十二支笛子,將透過觀眾的恣意乘坐,隨機演奏出預先譜好的音程,這個在摸索中創造樂趣的過程,隱含著用心感知聲響的意念,作者認為,出現在日常中的各種聲音,在尚未意義化前,都可能只是不斷消逝的美好,但每當我們經驗到令人熟悉的風時,即便常難以言喻,卻總能成為叫出我們某一段生命經驗的傳送座標。
Wang, Chung-Kun has been focusing on the research of sound-making machinery for a long time. He constantly thinks about how to create a simple and fun experience with more intuitive intervention. This work starts from the artist's own memory and tries to turn the audience's participation into the power of sound machinery. Different from the traditional pendulum-style single axis, the axis of the work is designed as a universal cross structure, which makes this childhood work a new swing that can swing back and forth, left and right at will. There are air pump and flutes on the top of the work, which are tuned by fingering with different pitches, and 72 flutes circle the turntable. Through audience's wanton ride, a pre-scored interval is randomly played. The pleasure created in this exploration implies the idea of perceiving sound with your heart. The author believes that all kinds of sounds that appear in daily life may just disappear before they are meaningful, but whenever we experience a familiar wind, even though it is often unspeakable, it can always become the transmission coordinates that call out a certain period of our life experience.