■ ■ 策展人前言 ■ ■
Curator’s Foreword
Konstantin是一個十分「跨界」的藝術家，他常游走在不同的創作方向、不同的空間、場域和文化之間。從巴洛克、文藝復興音樂，到現代主義音樂，再到實驗電子樂和Techno舞曲。從西方傳統音樂，到東南亞的甘美蘭，再到程序生成音樂。從柏林、巴黎，到上海、重慶……Konstantin總能在不同的文化中吸取營養，生長出新的可能性。
Konstantin這次將要演出的Techno，本身就是關於「可能性」的藝術。在電子樂剛誕生的時候，音樂學院視其為禁忌，因為在西方傳統音樂語境中，「身體」是干擾「靈魂」進行純粹聆聽的累贅，音樂廳里的「合格聽眾」，應該正襟危坐，忘掉身體和感官欲樂，使輕盈的「靈」擺脫沈重的「肉」，實現飛升。
而Techno徹底顛倒了這重關係。通過取消旋律，Techno打破了西方傳統音樂以旋律為基礎的動機發展，將重心轉移到節奏和音色上。Techno通常以一個固定的4/4拍反復節奏開始，似乎顯得冷峻而單調，然而，隨著一個主題漸趨穩定，一些微妙的變化開始出現：新的音色的加入、節奏突然的緩急變化、音色的轉暗或轉亮、亦或鼓點的疏密變化，將樂曲推向一個個新的「境界」。不一樣的是，Techno的「境界」指向的是身體，是生命能量的湧動。
在一小節，又一小節似乎無始無終的音樂中，在一個又一個迷幻的境界里，聽眾的「時間意識」也發生了變化。在反復的節奏進行中，現代工業社會的線性時間消失了，而原本被線性時間精密編碼的身體則隨之顯現。循環韻律將身體從前進的桎梏中解放出來、召喚出來，驅使著身體進行往復的運動，也驅使著生命能量的湧動。也正是在這樣的「境界」下，既有的秩序和建構消失了，性別、民族、種族、階層……都在身體和生命力的顯現下隱去，而身體和生命力，正是創造之始。由此，一個超越既有秩序的空間被打開了，一個可能性的空間被打開了。
Konstantin並不熱衷於從現成的理論出發，去形成他的創作意識。相反，他熱衷於感受城市、空間的複雜性，以及其中豐富的能量。在Konstantin眼裡，重慶是一座充滿可能性的城市，廣場舞、高低錯落的地形、立交橋、叫賣聲、輕軌……不同的聲音、能量，在重慶這個錯落的空間中震蕩、交匯，這給了他極大的興趣和靈感。與之相對，現代城市是一種格子式的「功能」空間，是一種「關係」的空間。地鐵連接工作、居住空間，居住空間連接消費、休閒空間，現代人的足跡就這樣被棋盤化的空間編碼，成為一種「功能」的人。能量的流動，也被功能的秩序規訓、擠壓。而Konstantin想要實現的，就是去重新找回這些能量，通過Techno，將這些被束縛的聲音和能量，從秩序中解放出來，編織成一片「重慶聲波織物」，開啓一個新的可能性空間。
Konstantin is a very “cross-border” artist. He often moves between different creative directions, different spaces, fields and cultures. From Baroque, Renaissance music, modernist music, to experimental electronica and techno. From Western traditional music, Southeast Asian gamelan to music generated by algorithm. From Berlin, Paris to Shanghai and Chongqing… Konstantin can always absorb nutrients from different cultures and grow new possibilities.
The Techno that Konstantin will perform this time is an art about “possibility”. When electronic music was first born, music conservatories regarded it as taboo, because in the context of traditional Western music, the “body” was a burden that interfered with the “soul”‘s pure listening. “Qualified listeners” in the concert hall should sit upright. Forget about the body and sensual pleasures, let the light “spirit” get rid of the heavy “flesh” and achieve ascension.
Techno completely reverses this relationship. By eliminating melody, Techno broke with the melody-based motivational development of traditional Western music and shifted the focus to rhythm and timbre. Techno usually starts with a fixed repetitive rhythm of 4/4 beat, which seems cold and monotonous. However, as a theme gradually stabilizes, some subtle changes begin to appear: the addition of new timbres, sudden changes in rhythm, timbre Darkening or brightening, or changes in the density of the drum beats push the music to new “realms”. The difference is that the “realm” of Techno points to the body and the surge of life energy.
In one section after another of no beginning and no end, in one psychedelic realm after another, the listener’s “time consciousness” also changes. In the repetitive rhythm, the linear time of modern industrial society disappears, and the body that was originally precisely encoded by linear time emerges. Circular rhythm liberates and summons the body from the shackles of advancement, driving the body to reciprocate and drive the surge of life energy. It is also in this “realm” that the existing order and structure disappear, like gender, ethnicity, race, class… are all hidden under the appearance of the body and vitality, and this is the beginning of creation. As a result, a space beyond the existing order is opened, a space of possibility is opened.
Konstantin is not keen on starting from ready-made theories to form his creative consciousness. Instead, he is passionate about experiencing the complexity of cities, spaces, and the rich energy within them. In Konstantin’s eyes, Chongqing is a city full of possibilities. Square dancing, uneven terrain, overpasses, hawkers, metros… different sounds and energies vibrate and intersect in the scattered space of Chongqing, which gives His great interest and inspiration. In contrast, modern cities are a grid-like “functional” space and a “relational” space. The subway connects work and living spaces, and the living space connects consumption and leisure spaces. In this way, the footprints of modern people are encoded by the checkerboard space, becoming a “functional” person. The flow of energy is also disciplined and squeezed by the order of functions. What Konstantin wants to achieve is to rediscover these energies, and through Techno, liberate these sounds and energies from order, weave them into a “Chongqing Sonic Fabric”, and open up a new space of possibilities.
《重慶聲波織物》是一場沉浸式音樂表演以及聲音裝置。靈感來自對重慶音景錄音的反思，並將其與城市的動態能量和多維性調諧。
城市空間的錄音被製作成一種明亮的超空間媒介，和絃與節奏在其中展開。這些和絃和節奏源自解構分形——循環和對稱原則的糾纏，並使用dub techno（迴響科技舞曲）、UK garage（英國車庫舞曲）和古典音樂映射編排。
音樂應該是一個接受和感性的空間。對於聽眾而言，我想創造感受上微妙、情感上誠實和形式上有趣的體驗。我本人創作管弦樂、聲樂和室內樂，並製作電子樂供人們聆聽、沉浸。同時以「tsimtsum」作為電子樂化名，參與舞蹈和俱樂部語境。我從文藝復興音樂、巴洛克音樂、古典文學、甘美蘭和馬卡姆音樂中學習，研究拓展純律和混合音樂編曲。
Chongqing sonic fabrics is an immersive audio performance and installation, drawing from and reflecting upon recordings of the urban soundscapes of Chongqing, and tuning in emotionally with the vigorous dynamic energies and multi-dimensionality of the city.
Recordings of urban spaces are made to become a bright and hyper spacial medium in which harmonies and rhythms unfold. Harmonies and rhythms are derived from de-collaging fractals—entanglements of cyclic and symmetric principles, orchestrated with a pallet of dub techno, UK garage, and classical music allusions.
Music shall be a space of acceptance and sensibility. For the listener, I want to create experiences of nuanced sensation, emotional honesty, and formal interest. I write orchestral, vocal, and chamber pieces and make electronic music for listening, immersing, and per the alias tsimtsum, for dancing and club contexts. Learning from renaissance, baroque, and classical literature, gamelan and maqam, research in extended just intonation, and mixed music orchestration.
《重慶聲波織物Chongqing Sonic Fabrics》
Konstantin Heuer（DE）Resident Music Live Show
音樂現場開幕 Live Show Opening：2024.7.13 19:00
音樂現場錄播 Live Show Reply Period：
2024.7.13-7.28 14:00-18:00
（每週五至週日｜Every Fri. to Sun.）
Exhibition Hall A, Dimensions Art Center, Chongqing, China
藝術總監｜Art Director：曾途 Zeng Tu
展覽策劃｜Curator：范育琿 Fan Yuhui
執行統籌｜Coordination：劉暢 Liu Chang
展覽協助｜Assistance：劉春利 Liu Chunli 胡克 Ben
海報設計｜Poster Design：孫湧淇Sun Yongqi
駐留藝術家簡歷︱Resume of Artist：
康斯坦丁創作管弦樂、聲樂和室內樂作品，並製作供人聆聽、沉浸的電子音樂，他的別名tsimtsum則是用於舞蹈和俱樂部環境的電子音樂。
他在德國萊比錫長大，曾在羅斯托克、斯圖加特和海牙學習，從文藝復興、巴洛克和古典文學、加麥蘭和馬卡姆、擴展純律研究和混合音樂配器中汲取營養。他的導師是馬爾科-斯特羅帕（Marco Stroppa）和馬克-薩巴特（Marc Sabat）。他參加了IRACAM的課程，並獲得了Gaudeamus Price獎。
Konstantin writes orchestral, vocal, and chamber pieces and makes electronic music for listening, immersing, and per the alias tsimtsum, for dancing and the club context.
Growing up in Leipzig, Germany, and studying in Rostock, Stuttgart, and The Hague, he learned from Renaissance, baroque, and classical literature, gamelan and maqam, research in extended just intonation, and mixed music orchestration. His mentors were Marco Stroppa, and Marc Sabat. He did the Ircam Cursus and received the Gaudeamus Price.
藝術家以往作品︱Previous works of the artist：
Medium: electronic music, pvc, vinyl
這是我2023年在斯沃琪和平飯店藝術中心駐留期間創作的電子音樂短片集。這是我尋求舞臺設計、歌劇、rave（一種非正式電音舞會）、角色設計、藝術作品和音樂融合的首次體現。然而，這僅僅是第一步：限量發行17張的透明親簽的7英寸黑膠唱片，封面由一張當地市場上的 Coi照片，A面樂曲的和絃和鏈接的數字對應部分組成。
This is a collection of short electronic pieces, made during a residency at Swatch Art Peace Hotel in 2023. It is the first manifestation of my search for an integration of stage design, opera, rave, character design, artwork, and music. However, just the very first step: a limited 17 copies hand-signed transparent 7-inch vinyl, the cover consists of a picture of Coi from a local market, the chords from the piece on the A-side, and a linked digital counterpart.
Medium: soprano, 12 instruments, 8 channel electronics
我將猶太裔德國女詩人埃爾塞-拉斯克-舒勒（Else Lasker-Schüler）最長的詩作《伊娃》譜成樂曲。這首詩是1905年出版的《第七天》詩集裏的第一首，是一首狂熱之詩。世紀之交的象徵散落在對生活的沉迷中，與當下產生共鳴。
With »eva«, I set the longest poem of German-Jewish poetess Else Lasker-Schüler into music. The first poem of the volume “The Seventh Day”, published in 1905, is a frenzy. Symbols of the turn of the century are scattered by an addiction to life that resonates with the present.
這是一位作家關於人類墮落的文字，她的作品聽起來就像歌中之歌。我一直在尋找一種既狂熱又怪誕的矛盾氛圍，尋找兩種相輔相成的材料，一種遠離天堂，另一種走向天堂，將Gustav Mahler、Beat Furrer、Marc Sabat、Eliane Radigue、Ostgut Ton和PC音樂的影響與我個人對舒勒形象化的力量的情感聯繫結合起來。
A text about the fall of man by a writer, whose oeuvre sounds like the song of songs. I was looking for an ambivalent atmosphere that is both frenetic and eerie, for two complementary materials, one turning away from and the other turning towards paradise, combining influences from Gustav Mahler, Beat Furrer, Marc Sabat – from Eliane Radigue, Ostgut Ton, and PC Music with my personal emotional association to Else’s pictorial power.
文字的節奏與其內容一樣奔放。我試圖追溯和琢磨文本的音樂性。我時而將聲音作為techno-vocal（一種聲樂表現形式）來處理，時而賦予它大段的抒情。精神與情色的同時性與統一性是舒勒的詩歌與電子樂的共通之處。這裏沒有老套的”4-to-the-floor kick drum drop”（一種音樂節拍）。我的參考點是Dub Techno（迴響科技舞曲）的鋪墊、系統化的色彩調製，通過多元素在嚴格的正方形形式網格上延伸的張力演變，以及複雜的打擊樂元素的精緻聲音設計。
The rhythm of the text is as exuberant as its content. I tried to trace and working out the musicality of the text. I treated the voice at times as a techno-vocal, at times I gave it large cantilenas. The simultaneity/unity of spirituality and eroticism is something that Else’s poetry has in common with techno. There is no cliché 4-to-the-floor kick drum drop. My points of reference, where the pads of dub techno, systematic color modulations, stretched evolution of tension through polymetrics over the strictly square formal grid, and exquisite sound design of complex percussive elements.
在合奏中，我希望創造出一個深邃的聲學空間，在這個空間中，聲音可以綻放，和聲可以延伸為剛柔並濟的音調。詩句之間的器樂段落詮釋了場景的變化。在系統化的電子音色演變之後，管弦樂將發生永久性的變化。電子和合奏成為一個真正複雜的混合色彩單元，由室內樂和管弦樂器樂演奏文化以及精湛的數字合成組成。我希望這首曲子能成為對柏林感覺的讚歌——用舒勒的詩句和我們的聲音跨越一個世紀。
In the ensemble, I wanted to create a deep acoustic space with harmonies in extended just intonation, in the middle of which the voice can bloom. In between the verses instrumental passages interpret the change of scene. Following systematic electronic timbre evolutions, the orchestration is subject to permanent transformation. Electronics and the ensemble become a hybrid unit of colors that are genuinely complex, comprised of chamber and orchestral instrumental playing culture and virtuoso digital synthesis. I wanted the piece to be a hymn to the feeling of Berlin – spanning a century with Else’s verses and our sound.
這是techno廠牌Counterchange即將推出的EP的前奏。
它的特點是在擴展純律中進行宏大複雜的和聲變化，並採用了視頻遊戲《最後的生還者》的採樣。
Intro to an upcoming EP on the techno label Counterchange.
It featured grandiose complex harmony changes in extended just intonation and samples from the video game The Last of Us.
Medium: mezzo-soprano and orchestra
這是一首根據舒勒的文字改編的歌曲。這首歌是為Bad Mergentheim的”首次亮相”歌劇歌手比賽而作，並獻給Dr. Wittenstein家族。
This is a song on a text by Else Lasker-Schüler. It was written for the opera singer competition “Debut”, Bad Mergentheim, and is dedicated to the family Dr.Wittenstein.
Title: Unbound Exploration
Medium: viola da gamba and 8-channel electronics
該作品在巴黎的IRCAM創作而成。我希望將精心挑選的材料、形式趣味和情感真誠融為一體。這首樂曲將大提琴置於一個身臨其境的電子環境中，其中包括擴展純律的鋪墊和對比鮮明的打擊樂元素。我希望通過電子樂與樂器之間的相互作用，營造出一種強調人類呼吸之美的氛圍。
The piece was created at IRCAM, Paris. My wish was to bring together carefully selected materials, formal interest, and emotional honesty. The piece places the gamba in an immersive electronic environment, that consists of pads in extended just intonation and contrasting percussive elements. I wished to establish a situation in which the interplay between the electronics and the instrument underlines the beauty of the human breath.
該音頻為黑膠唱片中的片段
This audio belongs to the vinyl
這是為即將在techno廠牌Counterchange上發行的EP準備的一首碎拍音樂。
它包含了我為自己的別名tsimtsum找到的特色元素：暗黑車庫樂採樣、我自己的鈸和鑔配方、寬敞的背景、經過大量處理的模塊主音、離散的底鼓和貝斯、幾乎是顫動的車庫人聲等。
This is a broken-beat track for an upcoming EP on the techno label Counterchange.
It contains the characteristic elements that I found for my alias tsimtsum: dark garagey sampling, my own hihats and cymbals recipe, spacious background, heavily processed modular lead, discrete kick+bass, garage vocals that are almost shaker etc.
郵箱 : info@chongqingdac.org
Website : chongqingdac.org
Email : info@chongqingdac.org
Facebook : Chongqing Dimensions Art Centre & Chongqing Artists In Residency
Address : Huangjueping GuanJiaLin 190, Jiulongpo, Chongqing, CN.
