工具展，一个关于工具、设备、乐器的展览。每两月一件。
Max Wainwright – choir score;
Anton Lennartsson – Vi stärker våra kulturella band genom att mötas på mitten och låta Armenien visa vägen genom en tudelad duduk
作品名：合唱队乐谱
艺术家：马克斯·万莱特 Max Wainwright
创作地点和时间：北京，2018
maxwainwright.com
作品说明: 这个打印件是用一个与送纸器分离的热打印机来完成的，这样我就可以手动地来回移动纸张，而不是它自动单向地移动。这些字母是在一个简单的 arduino 程序中持续着随机生成的; 打印出来的形状之类的都形成于行动式／表演性的当场印刷，我故意拉着纸，让它印在已经打印好的材料上，让它“向后”打印等等。做了不同长度的几张之后，我把它们发给了观众，他们用它们作乐谱，像合唱队那样一起合唱。我也唱了一部分 (我相信这是我唱的那张)。
问答
问（yj）：你演奏的作品背后有多少是计划，多少是直觉？
答（mw）：这个演出大多是直觉。我确实计划了概要; 首先解释一下会发生什么，然后即兴印刷（这个我有练习/测试了一下），然后理解和演出当然是由歌唱者来决定。但是，当我说它是直觉的或即兴的时，也许我也应该说，我能做的并没有那么多，就“表达”而言印刷是相当有限的。因为它是那么一个新的作品，在我离开瑞典前刚设计出来，当我印刷的时候我对此也会有感觉（这对我来说很常见）。所以，有点探索，但对于结果我有松散的计划。
问（yj）：你认为这张纸是艺术作品吗？或者仅仅是艺术行为的遗留和证明？
答（mw）：我认为这张纸是一件艺术品，是的。我也从事印刷工作，它们很像。我甚至在你邀请之前就考虑过把一个打印件挂出来。尽管我确实觉得它有这样的意义，但它也是一次演出的遗留物。还有它不仅仅是视觉艺术，也是一份操作指令。
问（yj）：当一个物件独立出来，没有艺术家的在场，不移动，也没有声音，这时艺术在哪里？
答（mw）：这是一个难回答的问题。但是，既然这是某种形式的印刷，它就是视觉作品，就不需要表演者或声音。对我而言第一步是尝试打印有趣的图文，只有在这样做之后，我才意识到我可以拿它们当作指令使用，这使印刷转换为表演，也变成了一个作品的曲谱。一个复杂的混合体。而且，我认为不应该拿它和作为视觉艺术而挂在墙上的乐谱(图形的或普通标注的)比较。乐谱首先是指令，即使它们可能具有图形和视觉的性质。
问（yj）：当艺术家睡觉时，艺术在哪里？
答（mw）：也在睡觉。
问（yj）：你在中国听到最多的是什么？
答（mw）：交通: 远处高速公路的呜嗡声，悄声的电动摩托车，重型卡车在夜里鸣喇叭，出租车司机开得又快又有攻击性。
（翻译：阿科）
作品名：我们半路相见，以巩固文化纽带。还请亚美尼亚国用半个嘟嘟克笛子给我们示范
艺术家：安东·隆纳特森 Anton Lennartsson
创作地点和时间：北京，2018
时长：无特定时长
Anton Lennartsson 是一位瑞典声音艺术家和哲学家。目前他主要在一个即兴乐队中演奏预录媒体（电子原音）和微分音键盘乐器。此前也有声音装置作品发表。
作品说明：在这件作品中，我把一个嘟嘟克笛子（亚美尼亚传统木管乐器）锯成段，做成首饰。我自己留了几个，给了中国的演出参与者几个。这个作品可以通过这件工具的必要性和放大来延展，但它的重点在于实施本身。我和亚美尼亚的惟一联系，就是它在北京和哥本哈根之间的地理位置。
问答
问（yj）：你演奏的作品背后有多少是计划，多少是直觉？
答（al）：没多少，我想很多。
问（yj）：你认为这截笛子是艺术作品吗？或者仅仅是艺术行为的遗留和证明？
答（al）：我想它转换成为了新的艺术作品。而且，这截笛子变成了项链。
问（yj）：当一个物件独立出来，没有艺术家的在场，不移动，也没有声音，这时艺术在哪里？
答（al）：在一个更好的地方。因为任何人都可以接触它，捡拾起它，找出新的含义、用法和可能性。
问（yj）：当艺术家睡觉时，艺术在哪里？
答（al）：其实，我刚刚写了篇短文，关于我自己的感觉剥离和遇见蜘蛛的经历。在这些文字中我建议，可能整个的声音艺术圈都最好去睡觉；睡一个星期，一年，十年。对于很多艺术家追求那种商业方式的倾向，我还挺不满的，就是说，他们评判自己作品的方式，他们成就事业的方式，都太过努力于追求效果和职业性。不睡觉的话，艺术就不过是生产机器而已。
问（yj）：你在中国听到最多的是什么？
答（al）：一个小男孩喊妈妈。
（翻译：罗万象）
title: choir score
artist: Max Wainwright
location & year: Beijing, 2018
maxwainwright.com
about: This print was done using a thermal printer, with the feed detached so that I could move the paper back and forth manually instead of it moving automatically. The letters are continuously generated randomly in a simple arduino program; the shapes and such come from a performative live printing, where I deliberately get the paper caught, print over already printed material, print “backwards”, and so on. After doing a few of these prints of different lengths, I handed them to some audience members who interpreted them as scores and sang together as a choir. I also sang one part (I believe it was this print that I sang).
q & a
q (yj): how much plan and how much intuit behind the piece you performed?
a (wm): The performance was mostly intuitive. I did plan the general outline; to first explain a bit what would happen, then improvise the printing (which I had practiced/tested only a bit) and then the interpretation and performance was of course up to the singers. However, when I say it was intuitive or improvised, perhaps I should also say that there wasn’t so very much I could do, the printing was fairly limiting in terms of “expression”. Because it was such a new piece, devised just before I left Sweden, I was also getting a feel for the printing when I was doing it (which is fairly common for me). So, a bit of exploration, but with a loose plan for the results.
q (yj): do you consider this paper as art work? or just remains and evidence of art action?
a (wm): I consider the paper as an artwork, yes. I work with printing also, and this is somewhat similar to that. I did consider hanging a printout before you asked, even. Although I do find it meaningful that it is also the leftovers of a performance, and that it isn’t just visual art, but an instruction.
q (yj): where is art once an object stand alone without artist’s present, not moving, no sound?
a (wm): This is a difficult question. But, since this is a print of some form, it is a visual work, which don’t require a performer or sound. The first step for me was trying to print interesting graphics, only after doing this did I realise I could use them as instructions, and turn the printing into a performance, which also becomes the composing of a piece. A complicated mixture, and I don’t think it should be compared to hanging scores (graphic or plain notated) on a wall as visual art. Scores are instructions firstly, even though they may have graphic and visual qualities.
q (yj): where is art once an artist sleeping?
a (wm): Also asleep.
q (yj): what have you heard most in china?
a (wm): Traffic: the distant hum of motorways, silent electric scooters, heavy trucks at night with horns blowing, taxi drivers driving fast and aggressively.
Title: Vi stärker våra kulturella band genom att mötas på mitten och låta Armenien visa vägen genom en tudelad duduk (We strengthen our cultural ties by meeting halfway and letting Armenia show us the way through a duduk split in half)
artist: Anton Lennartsson
location & year: Beijing, 2018
duration: no fixed duration
Anton Lennartsson is a Swedish sound artist and philosopher. Right now he mostly works with fixed media (electroacoustic pieces) and microtonal keyboards in an improvisational band, but has done work with sound installations in the past.
Description: In this piece, I saw a duduk (traditional armenian woodwind instrument) into pieces, making it into jewelry, keep some for myself and and give some away to participants of an exlussively chinese audience. The piece could be extended with requisite and amplification of the tools, but the importance lies in the transaction itself. My only connection to armenia, is its geographical position between Beijing and Copenhagen.
q & a
q (yj): how much plan and how much intuit behind the piece you performed?
a (al): Not much,i think a lot.
q (yj): do you consider this part of flute as art work? or just remains and evidence of art action?
a (al): I think it is transformed into new artworks, and the part of the flute becoming a necklace.
q (yj): where is art once an object stand alone without artist’s present, not moving, no sound?
a (al): In a better place, since it is accessible to whoever want to pick it up, find new meanings, applications and possibilities.
q (yj): where is art once an artist sleeping?
a (al): Actually, I just wrote a short essay about an own experience with sensorial deprivation and a meeting with a spider. In this text I suggest that perhaps it would be a good idea for the entire sound art community to go to sleep; for a week, a year, a decade. I am critical to the tendencies among many artist to seek a business ordered approach, meaning that both the way they justify their own work and the strong eager to build a carrier is too hard work, seeking effectiveness and professionalism. Without sleep art will become nothing more than a production machine.
q (yj): what have you heard most in china?
a (al): A little boy, calling for his mom.