工具展，一个关于工具、设备、乐器的展览。每两月一件。”tool”, an exhibition about tools, instruments and so on.
颜峻：表情 | yan jun: expression
(english bellow)
访谈
提问：朱文博；回答：颜峻
1，问：想出这个演出，你用了多长时间？
答：想这个演出总共大概花了十几分钟，不过要分好几次。最早是去年咱们在团结湖做客厅巡演那次，我在厨房找到锡纸，给观众包了耳朵。今年三月我用锡纸做了一个自己的面具，寄到了旧金山参加一个和记忆有关的群展。这次本来想再做面具，后来听说客厅巡演那个主人的事，就想还是做耳朵，就算私下里纪念一下吧。
2，问：用锡纸包住观众的耳朵，让观众互相包耳朵，包完了演出介绍，很简单很清晰的想法。你最近的很多演出都是基于一些很简单的想法，这样的想法每人每天都会想出一些。你怎样就可以确定，它可以成为一个演出，而另外一个还不太可以？
答：我想，重点的确是够不够简单。够简单的话，多余的东西都去掉了，剩下的一定是很结实的。不过我并不会每天都有想法。其实每天都是在和这些基本的东西打交道，吃饭睡觉，塑料袋，桌子椅子，身体，各种杂音。没有想法。我曾经花了一些时间想，是不是什么都可以？什么声音都可以是音乐，什么行动都可以是表演？因为如果想要告别“大师技巧”的话，或者说想要从独特性回到普遍性的话，或者说就是“很简单地想要做一些简单的作品”的话，就不可避免地要问自己这个问题。没有答案，但是我发现简单的东西里面都有清晰的形式，有内在的逻辑，和作者有活的关联，有强烈的感性。我想，我需要看到这些，看不到的话，就先放一放。
3，问：很多乐手都使用锡纸这种素材。有哪一位的方式或是哪次演出给你留下了特别深的印象吗？
答：一个都不记得了。
4，问：其实，锡纸包上了耳朵，听起来也没什么变化呢…… 至少我那天是这么觉得的。所以到底有没有改变？感觉到了变化或者没感觉到变化，到底是否重要？
答：其实听到声音就是包耳朵的那个过程而已，后边的时间就是期待和猜测了吧。可能有点短，之后的时间又有点长，我喜欢这种本末倒置，就好像把调音或者报幕变成了音乐作品。演奏已经完成了，演奏留下的乐器还在每个人脑袋边上挂着，大家看起来有点怪，有点好玩，就是那样了。
5，问：写这些问题的时候我正在看the shadow ring 1997年的演出视频，可能是在一个酒吧里，观众很吵，像d-22一样吵。所以最后一个问题是：你会在一个吵闹的演出场地表演这个么？在那种气氛下，可能会发生什么？吵闹的环境里用锡纸包住耳朵，会听到的不一样吧？
答：还是一样，再吵闹的环境，锡纸在耳边哗啦哗啦的声音也是能听见的。而且，陌生人的身体接触，多少会有一种特别的感觉吧。每个人既是演奏者，也是观众，最后大家变成了一个样子，耳朵上裹着锡纸互相看一会儿。这些都不依赖安静的环境。
interview
interviewer: zhu wenbo; interviwee: yan jun
1. zwb: how long it taken you of conceiving this performance?
yj: in total maybe quarter of an hour. but they were in several phases. first time was when we did that “living room tour” in tuanjiehu. i found aluminium foil from the kitchen then used it to covering audiences’ ears. last march i made myself a facial mask by aluminium foil for a group exhibition about memory in san francisco. this time i was planned to do mask again until heard the news of the living room host. so i decide to do ears again as a personal mourn.
2. zwb: it’s very simple and clear idea that you cover audience’ ear, then let them cover each other’s, after this there was introduction of the performance as finale. many of your recent performances were based on some very simple ideas which everyone could have some everyday. how do you determine it could be a performance and another one could not?
yj: i think, really, the point is if it’s simple enough. excrescent things would be cut if it’s simple enough. and the rest must be solid. but i don’t have ideas everyday. actually everyday life is just dealing with these basic things such as meal, sleeping, plastic bags, table and chairs, body, all kind of small noise. no idea. i have spent some time on thinking is it true that anything is fine? and sound could be music and any action could be performance? because if you want to get rid of the virtuosity or if you want to back to universality from uniqueness, or if you just simply want to do some simple works, you will ask yourself this question, inevitably. no answer. but i realised that in simple things there always be clear form, its inherent logic, its living connection with the author and there must be a great sensibility. i think i need to see these. otherwise i’d leave it along for that moment.
3. zwb: many musicians have used aluminium foil as material. any one’s method or any performance left you a deep impression?
yj: i don’t remember any.
4. zwb: actually i felt there was no change according to hearing after ear been covered… at least i had this feeling that day. so after all is there any changing? is it important if one sensed change or not?
yj: actually the intended sounds were only come during the process of covering ears. after that there were only expectation and speculation. perhaps it’s too short, and the part after was too long. this is the invertion i like. as if you set sound check or announcement as music. the playing is done but the instrument is still hang on side of everybody’s head. we all looks a little weird and funny and that’s it.
5. zwb: i am watching a live video of the shadow ring in 1997. seems at a bar as the audiences were quite noisy. as noisy as in d-22 (a live bar in beijing during 2006-2012). so my last question is: would you perform this work at a noisy venue? what would be possible to happen in such an atmosphere? covering ears with aluminium foil would makes hearing different, right?
yj: it must be same. in noisy environment the aluminium foil clattering over ear would still be heard. and touching by strangers must bring some special feeling. everybody is performer and audience at same time and finally all become same look with shinny alumimium foil on ear. then look around and look to each other. these depend no quiet environment.