工具展，一个关于工具、设备、乐器的展览。每两月一件。
zhu wenbo: Maybe someone already performed it but I don’t really care
朱文博参与很多的音乐计划。他使用单簧管，萨克斯风，麦克风，喇叭，录音机，打击乐……他做作曲，也做即兴；组织活动，也做发行。致力于“不像音乐的音乐”。
2009-2015 年，朱文博在北京组织每周二的“燥眠夜”系列实验音乐/即兴/噪音演出，很多北京的实验乐手都是从这里开始他们的表演。目前燥眠夜是一个发行磁带的厂牌。
zoominnight.bandcamp.com
zhuwenbo.bandcamp.com
问答
问（yj）：在今年1月的密集音乐会上，你请两位观众分别拆解和安装了这把琴，那么，现在，它是作为那个表演的遗留物而存在，还是作为一件新的独立的作品而存在？
答（zwb）：在最初的构想里，重新被组装的曼陀铃最后就是要在工具展上展出的。展览和演出有一种延续性，所以我觉得它并不是一件新的独立的作品。事实上我希望在展览结束之后它还可以被组装起来，没事弹着玩玩。
问（yj）：那天的表演还挺漫长的，我感觉有那么一阵子，所有人都陷入了一种难以名状的混沌状态，既是无聊，也是迷失，但大家还都挺乐于维持那个状态的，不知道当时你在想什么？
答（zwb）：啊，第一位观众拆琴的时候，我其实有一点紧张。虽然我和她说过“不要破坏”，但我还是怕她某个地方不留意把琴搞坏掉。
第二位观众组装的时候，他特别认真，我觉得有一些喜剧效果，看着挺可乐的，我自己都有点绷不住。这种喜剧效果是我之前没有想到的。
后来因为他组装了太长时间，我也有点焦虑——怎么还没完啊！于是就和自己说，这也是演出的一部分，没问题的。好几次我都想和他说，就这样吧！但是我忍住了。
问（yj）：“不像音乐的音乐”的边界在哪里？它可以是一切吗？
答（zwb）：或许，边界就在我自己疑惑的一瞬间吧——当我觉得一个不是音乐的东西或许也可以是音乐的时候。可能是时间流逝的过程（这是最重要的），可能是一个动作，也可能是一个人的身份。如果这是边界的话，边界总是在变的。
而我不太喜欢“一切”这个说法，很虚无。“一切”好像包含了所有的东西，但事实上每个人的“一切”是不同的。
所以我想，“不像音乐的音乐”的边界不会是一切。
问（yj）：现在你会考虑这件作品的视觉效果吗？
答（zwb）：不会。
问（yj）：你对视觉艺术有什么特别的兴趣吗？
答（zwb）：好像并没有。平日里我也不爱去看展览。
Zhu Wenbo involves in many different music projects. He uses clarinet, saxophone, microphone, speaker, recorder, percussion and more, doing compositions, improvisations, events and publications focus on “music unlike music”.
From 2009 to 2015, Zhu organized the weekly experimental/improvisation/noise performance series Zoomin’ Night on every Tuesday. A lot of Beijing’s experimental musicians cut their teeth from it. Now Zoomin’ Night is a cassette label.
zoominnight.bandcamp.com
zhuwenbo.bandcamp.com
q & a
Q (yj): you have invited two audiences detached and reassembled this mandolin separately, during Miji Concert in january. is it now exists as a remain of the performance, or as an independent new work?
A (zwb): Before the performance, when I was thinking about it, the reformed mandolin should be in Tool’s Exhibition. The exhibition could be seen as a following of the performance, so I don’t think it is a independent work. Actually I hope it could formed after the exhibition and use for playing.
Q (yj): that performance was quite long. i felt there were some moments everybody were stuck into a kind of unknown vagueness. it was boredom and also been lost. but we’d rather stay with that status somehow. i’m wondering how did you feeling back to then?
A (zwb): I’m a little nerves in the first part. Although I told her “don’t destroy it” before, I’m still afraid she make something wrong and broke some parts.
And in the second part, the audience’s reforming work is very careful, it make me feel like in a comedy… I try my best to control my laugh. I did not think it would come like that.
Cause he formed so long time, it also make me a little nerves. I think there were some times I wanted to tell him that “it’s ok, we could stop”, but finally I did not do that. I told myself that the super long time is a part of the performance.
Q (yj): where is the border of “music unlike music”? could it be everything?
A (zwb): Maybe the border could be in the time I feel puzzled – if I find something non-music could be considered as music. The reason might be time (how it passed, normally it is the most important part in music), actions, or people’s status. The border is always changing.
And I don’t really like “everything”, the word is void, isn’t it? Seems “everything” contains all the things(include you know and you don’t know), but for different people it means different.
So I think, the border of “music unlike music” could not be everything.
Q (yj): now, would you consider this work’s visual presentation?
A (zwb): no.
Q (yj): do you have any special interest to visual art?
A (zwb): Seems not. Normally I don’t have any strong interests of visiting art exhibition.