{"id":347,"date":"2018-05-24T13:38:55","date_gmt":"2018-05-24T05:38:55","guid":{"rendered":"http:\/\/subjam.org\/blog\/?p=347"},"modified":"2018-06-07T19:10:12","modified_gmt":"2018-06-07T11:10:12","slug":"max-wainwright-anton-lennartsson","status":"publish","type":"post","link":"https:\/\/subjam.org\/blog\/347","title":{"rendered":"Max Wainwright; Anton Lennartsson"},"content":{"rendered":"

\"\"
\n\u5de5\u5177\u5c55\uff0c\u4e00\u4e2a\u5173\u4e8e\u5de5\u5177\u3001\u8bbe\u5907\u3001\u4e50\u5668\u7684\u5c55\u89c8\u3002\u6bcf\u4e24\u6708\u4e00\u4ef6\u3002
\nMax Wainwright – choir score;
\nAnton Lennartsson – Vi st\u00e4rker v\u00e5ra kulturella band genom att m\u00f6tas p\u00e5 mitten och l\u00e5ta Armenien visa v\u00e4gen genom en tudelad duduk
\n
\n\u4f5c\u54c1\u540d<\/strong>\uff1a\u5408\u5531\u961f\u4e50\u8c31
\n\u827a\u672f\u5bb6<\/strong>\uff1a\u9a6c\u514b\u65af\u00b7\u4e07\u83b1\u7279 Max Wainwright
\n\u521b\u4f5c\u5730\u70b9\u548c\u65f6\u95f4<\/strong>\uff1a\u5317\u4eac\uff0c2018
\nmaxwainwright.com<\/a><\/p>\n

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\n\u7b54\uff08mw\uff09\uff1a\u8fd9\u662f\u4e00\u4e2a\u96be\u56de\u7b54\u7684\u95ee\u9898\u3002\u4f46\u662f\uff0c\u65e2\u7136\u8fd9\u662f\u67d0\u79cd\u5f62\u5f0f\u7684\u5370\u5237\uff0c\u5b83\u5c31\u662f\u89c6\u89c9\u4f5c\u54c1\uff0c\u5c31\u4e0d\u9700\u8981\u8868\u6f14\u8005\u6216\u58f0\u97f3\u3002\u5bf9\u6211\u800c\u8a00\u7b2c\u4e00\u6b65\u662f\u5c1d\u8bd5\u6253\u5370\u6709\u8da3\u7684\u56fe\u6587\uff0c\u53ea\u6709\u5728\u8fd9\u6837\u505a\u4e4b\u540e\uff0c\u6211\u624d\u610f\u8bc6\u5230\u6211\u53ef\u4ee5\u62ff\u5b83\u4eec\u5f53\u4f5c\u6307\u4ee4\u4f7f\u7528\uff0c\u8fd9\u4f7f\u5370\u5237\u8f6c\u6362\u4e3a\u8868\u6f14\uff0c\u4e5f\u53d8\u6210\u4e86\u4e00\u4e2a\u4f5c\u54c1\u7684\u66f2\u8c31\u3002\u4e00\u4e2a\u590d\u6742\u7684\u6df7\u5408\u4f53\u3002\u800c\u4e14\uff0c\u6211\u8ba4\u4e3a\u4e0d\u5e94\u8be5\u62ff\u5b83\u548c\u4f5c\u4e3a\u89c6\u89c9\u827a\u672f\u800c\u6302\u5728\u5899\u4e0a\u7684\u4e50\u8c31(\u56fe\u5f62\u7684\u6216\u666e\u901a\u6807\u6ce8\u7684)\u6bd4\u8f83\u3002\u4e50\u8c31\u9996\u5148\u662f\u6307\u4ee4\uff0c\u5373\u4f7f\u5b83\u4eec\u53ef\u80fd\u5177\u6709\u56fe\u5f62\u548c\u89c6\u89c9\u7684\u6027\u8d28\u3002<\/p>\n

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\n\u7b54\uff08mw\uff09\uff1a\u4e5f\u5728\u7761\u89c9\u3002<\/p>\n

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\n\u7b54\uff08mw\uff09\uff1a\u4ea4\u901a: \u8fdc\u5904\u9ad8\u901f\u516c\u8def\u7684\u545c\u55e1\u58f0\uff0c\u6084\u58f0\u7684\u7535\u52a8\u6469\u6258\u8f66\uff0c\u91cd\u578b\u5361\u8f66\u5728\u591c\u91cc\u9e23\u5587\u53ed\uff0c\u51fa\u79df\u8f66\u53f8\u673a\u5f00\u5f97\u53c8\u5feb\u53c8\u6709\u653b\u51fb\u6027\u3002<\/p>\n

\uff08\u7ffb\u8bd1\uff1a\u963f\u79d1\uff09<\/p>\n

\u4f5c\u54c1\u540d<\/strong>\uff1a\u6211\u4eec\u534a\u8def\u76f8\u89c1\uff0c\u4ee5\u5de9\u56fa\u6587\u5316\u7ebd\u5e26\u3002\u8fd8\u8bf7\u4e9a\u7f8e\u5c3c\u4e9a\u56fd\u7528\u534a\u4e2a\u561f\u561f\u514b\u7b1b\u5b50\u7ed9\u6211\u4eec\u793a\u8303
\n\u827a\u672f\u5bb6<\/strong>\uff1a\u5b89\u4e1c\u00b7\u9686\u7eb3\u7279\u68ee Anton Lennartsson
\n\u521b\u4f5c\u5730\u70b9\u548c\u65f6\u95f4<\/strong>\uff1a\u5317\u4eac\uff0c2018
\n\u65f6\u957f<\/strong>\uff1a\u65e0\u7279\u5b9a\u65f6\u957f
\nAnton Lennartsson \u662f\u4e00\u4f4d\u745e\u5178\u58f0\u97f3\u827a\u672f\u5bb6\u548c\u54f2\u5b66\u5bb6\u3002\u76ee\u524d\u4ed6\u4e3b\u8981\u5728\u4e00\u4e2a\u5373\u5174\u4e50\u961f\u4e2d\u6f14\u594f\u9884\u5f55\u5a92\u4f53\uff08\u7535\u5b50\u539f\u97f3\uff09\u548c\u5fae\u5206\u97f3\u952e\u76d8\u4e50\u5668\u3002\u6b64\u524d\u4e5f\u6709\u58f0\u97f3\u88c5\u7f6e\u4f5c\u54c1\u53d1\u8868\u3002 <\/p>\n

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\u95ee\u7b54<\/strong>
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\n\u7b54\uff08al\uff09\uff1a\u6ca1\u591a\u5c11\uff0c\u6211\u60f3\u5f88\u591a\u3002<\/p>\n

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\n\u7b54\uff08al\uff09\uff1a\u6211\u60f3\u5b83\u8f6c\u6362\u6210\u4e3a\u4e86\u65b0\u7684\u827a\u672f\u4f5c\u54c1\u3002\u800c\u4e14\uff0c\u8fd9\u622a\u7b1b\u5b50\u53d8\u6210\u4e86\u9879\u94fe\u3002<\/p>\n

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\n\u7b54\uff08al\uff09\uff1a\u4e00\u4e2a\u5c0f\u7537\u5b69\u558a\u5988\u5988\u3002<\/p>\n

\uff08\u7ffb\u8bd1\uff1a\u7f57\u4e07\u8c61\uff09<\/p>\n

title<\/strong>: choir score
\nartist<\/strong>: Max Wainwright
\nlocation & year<\/strong>: Beijing, 2018
\nmaxwainwright.com<\/a><\/p>\n

about<\/strong>: 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 \u201cbackwards\u201d, 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).<\/p>\n

q & a<\/strong>
\nq (yj): how much plan and how much intuit behind the piece you performed?
\na (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\u2019t so very much I could do, the printing was fairly limiting in terms of \u201cexpression\u201d. 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.<\/p>\n

q (yj): do you consider this paper as art work? or just remains and evidence of art action?
\na (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\u2019t just visual art, but an instruction.<\/p>\n

q (yj): where is art once an object stand alone without artist’s present, not moving, no sound?
\na (wm): This is a difficult question. But, since this is a print of some form, it is a visual work, which don\u2019t 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\u2019t 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.<\/p>\n

q (yj): where is art once an artist sleeping?
\na (wm): Also asleep.<\/p>\n

q (yj): what have you heard most in china?
\na (wm): Traffic: the distant hum of motorways, silent electric scooters, heavy trucks at night with horns blowing, taxi drivers driving fast and aggressively.<\/p>\n

Title<\/strong>: Vi st\u00e4rker v\u00e5ra kulturella band genom att m\u00f6tas p\u00e5 mitten och l\u00e5ta Armenien visa v\u00e4gen 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)
\nartist<\/strong>: Anton Lennartsson
\nlocation & year<\/strong>: Beijing, 2018
\nduration<\/strong>: no fixed duration <\/p>\n

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. <\/p>\n

Description<\/strong>: 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. <\/p>\n

q & a
\nq (yj): how much plan and how much intuit behind the piece you performed?
\na (al): Not much,i think a lot.<\/p>\n

q (yj): do you consider this part of flute as art work? or just remains and evidence of art action?
\na (al): I think it is transformed into new artworks, and the part of the flute becoming a necklace. <\/p>\n

q (yj): where is art once an object stand alone without artist’s present, not moving, no sound?
\na (al): In a better place, since it is accessible to whoever want to pick it up, find new meanings, applications and possibilities.<\/p>\n

q (yj): where is art once an artist sleeping?
\na (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. <\/p>\n

q (yj): what have you heard most in china?
\na (al): A little boy, calling for his mom.<\/p>\n","protected":false},"excerpt":{"rendered":"

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