海报设计:史芮齐

Poster Design:Ruiqi Shi


运动中的声音


王羲之曰:后之视今亦如今之视昔。今日之往昔,在文人传统颇盛的中国强调当代性,必然要回首往昔。而彭智烨的音乐也是如此。这次的作品《造粒厂》是由低音提琴+声音采样 共同探讨现代工业的割裂记忆与历史的脉络。当下中国社群的焦虑 矛盾 迷茫和想象力,以艺术为路径在这个室内音乐的现场呈现。


作品提及的“造粒厂”是坐落于重庆九龙坡区黄桷坪的一处废弃工厂,隶属于曾经的重庆发电厂。这样的反差不仅在于声音的空间距离,还有建筑墙体的掩蔽作用,也是对造粒厂已消逝的日常空间的譬喻。


声音是有生命的。人们如何与艺术在一起?在这个充斥着各种语境和结构的社会中,受其影响的人们如何体验艺术?


比起策展,有时候我更愿意罚酒三杯。如今想来,许多事今日与往昔,都不曾有一豪的改变。


- 青年策展人  张雪琴

Moving Sound

 

Xizhi Wang once said: "People in the future look at us today, just as we look at the people before us". In today's past, to lay emphasis on contemporary China where the literati tradition is flourishing, we ought to look back into the past. The same is true for Zhiye Peng's music. His piece"The Granulation Plant" (pellet factory) is a combination of double bass and sound sampling to explore the fragmented memory within the context of modern industries and history. The anxiety, contradictions, confusions and imaginations of the current Chinese community are artistically presented within this chamber.

 

"The Granulation Plant" (pellet factory) portrayed is now an abandoned factory, formerly a part of Chongqing Power Plant, located in Huangjueping of Jiulongpo District. The stark contrast is not only in the spatial distance of the sound, but also the masking effect of the building walls. It is also a metaphor for the disappearance of daily spaces such as the pellet factory.


There is life within sound. How do people connect with art? How do people experience art in a society full of contexts and structures?

 

Sometimes I rather drink to bottoms up than curating. For now, I believe that many things have not changed at the present when compared to the past.

- Emerging Curator   Xueqin Zhang



此次音乐会,艺术家彭智烨将现场呈现他驻留期间的新作《造粒厂 I 》,为低音提琴和四个MIDI声道而作。


造粒厂是坐落于九龙坡区黄桷坪的一处废弃工厂,隶属于曾经的重庆发电厂。在这里艺术家采集了遗留于厂房的金属筒在地面上拖拽所发出的声响,这也是这座已经止息的工厂所能发出的重现往昔日复一日劳动情景的声音。它近似于乐音,但并无通常意义上的“悦耳”,有非常复杂的频谱和噪音成分,也有某种窒闷的碾压性意味。这与在这人和机器曾经共生的空间里,人所能感受到的对机器适宜但对人体并不友好的环境,是一致的。


艺术家试图以手中的低音提琴去接近这一频率,这形成了作品的起始。他把声音采样放入MIDI音序器,并通过四个独立的声道来重建造粒厂的声音环境。


音乐会后开幕的文献展将展出艺术家过去三年自选作品的录音、影像、乐谱等资料。

- 艺术家 彭智烨


For this concert, Zhiye Peng will present his new composition The Granulation Plant I, scored for contrabass and four MIDI channels.


The granulation plant is an abandoned factory, formerly a part of Chongqing Power Plant, located in Huangjueping of Jiulongpo District. The composer recorded the sound when dragging some metallic tubes abandoned in the workshop on the floor, which is also the only sound in this ceased plant that could recapitulate a laboring scene taking place day after day in the past. It approximates a musical tone, but does not please an ear in the typical sense, with its complicated spectrum and noise components, and a sense of choke and grind, which shares similarity with one's perception under the circumstances that were appropriate for machines but not for human, in the space machines and human beings used to share. 


The composer tried to approach this frequency with his contrabass, whereby the work began to take shape. He manipulates the sound sample in a MIDI sequencer, and rebuilds sonic circumstances of the plant with four individual channels.


Opening following the concert will be a document exhibition of Zhiye Peng's selected compositions of past three years, including recordings, videos and full scores.

- Aritst  Zhiye Peng



2019 复归 • 长江国际黄桷坪文化艺术季
2019 REVIVAL • YANGTZE INTERNATIONAL HUANGJUEPING CULTURE AND ART FESTIVAL

城市记忆-社会景观与社群风景
CITY MEMORY - Society Spectacle and Community Scenery
 
《造粒厂》 - 音乐现场与文献展

< The Granulation Plant >  - Music Concert and Document Exhibition


时间 | Time:2019.11.16(周六 | Sat.)19:40-20:40
地点 | Venue:重庆黄桷坪十方艺术中心 - B展厅(音乐会),  C展厅(文献展)

Dimensions Art Center, Huangjueping, Chongqing

- Exhibition Hall B ( Concert ) , Exhibition Hall C ( Document Exhibition )


艺术家:彭智烨
Artist :  Zhiye Peng

策展人:曾途
Curator : Tu Zeng

青年策展人:张雪琴

Emerging Curator : Xueqin Zhang




彭智烨,自由作曲家,毕业于四川音乐学院作曲系。曾赴欧洲学习,先后师从法国作曲家扬·霍班和奥地利作曲家克劳斯·朗,现居重庆。他试图在作品中挖掘各种声音和音色的频谱特征之间的联系,消解噪音与乐音之间的界限。他重视以数理逻辑来组织作品,大量运用诸如数列、矩阵等方法实现对结构的理性控制。作有管弦乐、室内乐、器乐与实时电子音乐、无伴奏合唱等。


Zhiye Peng is a freelance composer living currently in Chongqing, China. He graduated from the composition department of Sichuan Conservatory, and studied in Europe successively with French composer Yann Robin and Austrian composer Klaus Lang. He excavates spectrums of sounds and tone colors, trying to bridge noise and tones. He highly values mathematical logic in organizing music, and significant use of mathematical methods such as sequence and matrix achieves him rational control over structures. His compositions include orchestral music, chamber music, instruments with live electronics, mixed choir a cappella, etc.


艺术家个人主页 | Artist's Homepages

虾米音乐 - https://i.xiami.com/composer-peng

SoundCloud - https://soundcloud.com/zhiye-peng







   

試聽鏈接(二維碼)

 Audition link(QR code)

作品名稱:磁性表皮(I)

樂器配置:大提琴,低音提琴,電吉他,打擊樂

創作年份:2019

長度:18分鐘

演奏:Tessitura Ensemble

通過大提琴和低音提琴運弓的持續變化對電吉他的失真音色實施暈染,後者的衰減又給以前者退暈。古老的複調技法試圖形成一些封閉單元,類似德勒茲所說的“塊莖”,而並非音樂外在上可能呈現的祭儀般的敘事。打擊樂不但在自然衰退中暈染其他樂器的頻譜,更為重要的是,它是最終實現音色統一性的途徑。

 

Title: L'Epidermide Magnetica (The Magnetic Epidermis) I

Instrumentation: violoncello, contrabass, electric guitar, percussion

Year: 2019

Duration: approx. 18’

Performed by: Tessitura Ensemble

Distorted guitar is tinted with constantly changed bowing on violoncello and contrabass, while its decay makes violoncello and contrabass emerge from beneath. Distinct from the ritual narration that the music might sound like, polyphony techniques since long time ago are utilized in order that some closed units form, like what Deleuze called a “rhizome”. Besides tinting spectrums of other instruments in its decay, the percussion is regarded more importantly as an approach to the final integration of timbres.



   

試聽鏈接(二維碼)

 Audition link(QR code)

作品名稱:森林的手臂 No.1

樂器配置:4低音提琴

創作年份:2018

長度:11分鐘

演奏:Tessitura Ensemble

從一個齊奏的E泛音開始,每支琴以不同的運弓手法給這個同質化的單音以敏感的色澤變化。音程在此基礎上形成,起初的E音逐漸擴充為一個寬廣的頻譜並向下方音區移動,漂浮態的遊弋轉化為一種生根蔓延的力量。

 

Title: Le Braccia della Foresta (The Arms Of Forest) No.1

Instrumentation: 4 contrabasses

Year: 2018

Duration: approx. 11’

Performed by: Tessitura Ensemble

All contrabasses begin with a flageolet tutti in E, bringing about sensitive shifting of timbre with varied bowing, to this homogenous harmonic tone. Intervals are then built upon the initial tone, descending to lower and lower register, and expand to a wide span of spectrum. The floating matter is then turned into energy that digs and grows in the ground.



總譜手稿局部   

excerpt from manuscripts of the score



   

試聽鏈接(二維碼)

 Audition link(QR code)

作品名稱:瘦馬(I)

樂器配置:低音提琴與預製音頻

創作年份:2015-17

長度:12分鐘

演奏:彭智燁(2017中國重慶現場演奏)

“瘦馬”這個概念的不確定性吸引著我。“古道西風瘦馬”“揚州瘦馬”等都是人們耳熟能詳的短語,此外它讓我想起《罪與罰》的主人公拉斯科尼科夫夢裏那匹不堪驅馳的駑馬。在作品裏,我用低音提琴模擬馬的嘶鳴,並將其置於一種失真的碾壓性聲響裏,而這種工業性的機械聲響又在尾聲中發展成挽歌般的行進。

 

Title: Das Dünne Pferd (The Skinny Horse) I

Instrumentation: contrabasses and pre-recorded audio

Year: 2015-17

Duration: approx. 12’

Performed by: PENG Zhiye (Live 2017 in Chongqing, China)

The uncertainty of such concept as “a skinny horse” fascinated me. Besides many phrases from Chinese classical literature familiar to us, depicting imageries of “a skinny horse”, came to my mind the lean horse thrashed and tortured in a dream of Raskolnikov, from Dostoevsky’s Crime and Punishment. I in this piece used the contrabass to simulate neighs of a horse, putting it amongst a distorted crunching sound, which with its industrial rigidness, developed into threnody-like advancing in the coda.