Thursday 2 April 2015, 8pm
As part of the exhibition 'Shoot the Pianist’ held at the Peltz Gallery from 26 March to April, this special event presents three trailblazers of the 1990’s Taiwan underground scene, Wang Fujui, Lin Chiwei and Dino(Liao Ming-he), who have been exploring the spectrum of noise and sound art for the last two decades.
Wang’s Hollow Noise, employs multiple directional hypersonic speakers to create multiple refractions of audio beams in the space. Dino’s contemplative and minimalist sound approach is generated from circuitry noise, static or microphone feedback by simple analogue equipment. Lin Chiwei will collaborate with the London-based choir, Musarc, to perform his renowned Tape Music - a collective sound art piece driven by a long ‘tape’ embroidered with syllables.
Three artists will be also joined by the London-based percussionist/sound artist Michael Speers and Kenny Love. 'Shoot the Pianist’ is an exhibition for the first time in the UK explores the underground noise scenes in Taipei during the first-half of the 1990s. Apart form the Café OTO’s live performance, a screening and discussion will be held at Birkbeck Cinema on 31th March. For more information, see:
http://www.bbk.ac.uk/events-calendar/shoot-the-pianist-the-noise-scene-in-taipei-1990-1995
Lin Chiwei has received training in literature, anthropology and fine art. He creates sound works with the participation of the audience. Lin was the co-founding member of Zero and Sound Liberation Organization (Z.S.L.O.), the first noise group in Taiwan. He also co-organised Taipei Broken Life Festival which marks the highpoint of the local noise movement. Since the late-1990s, Lin has been exploring in the realms of folklore culture, and through his work, integrating sound, ritual and the participation of the audience.
As one of the pioneers of sound art in Taiwan, Wang Fujui founded NOISE, the Taiwan’s first independent record label and ‘zine focusing on experimental sound in 1993. In 2000, Wang joined ETAT Lab, and initiated BIAS Sound Art Exhibition and Sound Art Prize in the Digital Art Awards Taipei. Over the last decade, while continuing his practice in sound and digital art creation, he has also been leading the new generation of young digital artists in Taiwan through his public programmes. Since 2008, Wang has been curating the annual Digital Art Festival Taipei and TranSonic Sound Art Festival.
Dino (Liao Ming-he) is a sound artist and a guqin maker based in Taipei. Once a bassist of the Clippers Band, he is a seminal figure in the second wave of the noise movement in Taiwan during the late-1990s. He uses simple analogue equipment to create electronic sound with no input, which is known as ‘recycle music’, by generating loops from circuitry noise, static, or microphone feedback. In recent years, Dino participates in experimental films and live music production for the theatre. He was awarded Best Sound Effects in Taipei Film Festival (2003). The first anthology of his early cassette recordings (1996-97) will be released by Kandala Records in 2015.
Michael Speers (b. 1992) is a musician from Northern Ireland.
Working with natural & synthetic sound material—using drums, computer, microphones, feedback—in composition, performance and installation.
Collaborating with Paul Abbott as yPLO—using real & imaginary drums. With Luciano Maggiore, making music contemplating the kernel of black metal.
Other collaborators include John Wall, Louise Le Du, Olan Monk, Niklas Adam, Lee Fraser and Seijiro Murayama.
Recordings published by Anòmia, Party Perfect!, Krim Kram, Takuroku, C.A.N.V.A.S., Wasted Capital Since 2013 and Feedback Moves.
Kenny Love is a sound artist currently based in London. Previous work has been directed along the boundaries between noise and electronic music, opening up immersive and intense improvised performance situations.
Musarc is one of London’s most progressive amateur choirs. It is at the heart of a research project at The Cass Faculty of Art, Architecture and Design, London Metropolitan University, which explores performance and composition in relation to the creative process and investigates listening in the context of architecture and the city. The ensemble regularly collaborates with composers to develop work that challenges traditional ways of making music, and brings together art, performance and education.
