subjam m001 老羊 – 无题 lao yang – untitled

miji001
概念出版物;金属;限量50张;2013
conceptual object; meatal; 50 copies; 2013

“无题”是一张不能用唱机播放的唱片。也是一张不能数字化的唱片。非卖。赠送给热爱实体唱片的同行。
出版它有三个理由:
一:和传统的黑胶、磁带、CD 一样,它也有着重量和质感,可以用手摸。占有一定的物理空间。会磨损,会丢失。
二:它的作者,是一个卖唱片的人。
三:它有点像撒把芥末最早的 logo。

老羊(原名杨立才)
男,生于辽宁盘锦,2003年起暂住北京。2013年起暂住云南。
白糖罐工作室负责人。
2003年,老羊创办了白糖罐唱片店。后来它成为中国惟一专营实验音乐和声音艺术的唱片店,一度定期举办音乐会和声音艺术活动。它也是老羊的生活-艺术-政治实践。
2009年,老羊和白糖罐参加了在巴尔干半岛举办的地拉那双年展。
2010年,白糖罐唱片店停业。
2012年,老羊开始和加泰罗尼亚艺术家打油合作新的白糖罐。年底,他在德国斯图加特孤独宫驻村,并进行了欧洲游击巡回展。
作为创作者,或者说一个抵抗者,在白糖罐之外,老羊还有过“我”,“中国”,“我就是杨佳”等作品。2008年到2010年,他参与了一系列社会事件。
www.sugarjar.org

Untitled is a disc not able to be played through CD player. and not able to be digitalized. not for sale. it’s present for people who producing or loving physical disc.
There are three reasons to release it:
1, Same as traditional vinyl, cassette or CD, it has specific weight and texture. you can touch it by hand. it takes a little physical space. it could be abraded or lost;
2, Its creator is a man who selling discs;
3, It look like early logo of Sub Jam.

Lao Yang (aka Yang Licai)
A man who was born in Panjin, Liaoning. lived in Beijing since 2003. temporarily lives in Yunnan since 2013.
Founder of Sugar Jar Studio.
2003, Lao Yang established Sugar Jar Music Store. It became to the only store of experimental music and sound art in China afterward. It was a place the comunity meet and performances happen. It’s Lao Yang’s life-art-politics practice as well.
2009, Lao Yang and Sugar Jar attended Tirana Bienale in Balkan.
2010, Sugar Jar closed.
2012, in the spring Lao Yang start to collaborate with Catalonian artist Gerald Altaió for a new Sugar Jar. later this year he did an artist residency in Akademie Schloss Solitude, Germany. and a Europe guerrilla tour.
As a creator, in another word, as a resister, Lao Yang has I, China, I Am Yang Jia and other works alongside of the Sugar Jar. during 2008-2010, he participated or been involved a series of social events.
www.sugarjar.org

review
Brian Olewnick
I’m going to go out on a limb and guess that this isn’t the first time, in world history, that a saw wheel has come packaged in a CD case as an object of contemplation. True, I haven’t heard of any specific example before this but, if you were thinking about more or less circular, flat items to substitute for an audio disc, such a thing could well have sprung to mind. It’s very attractive, after all, burnished steel, in this instance bearing four incisions (mine has four; the above, three) and two shade tones. It connotes sound, a fairly specific, high volume sound that can, in my experience, hover on that fine line between excruciating and divine, inhabiting an area not so far from some noise climes. It implies a kind of violence. It has heft. It feels cool, smooth and somewhat uncomfortable in one’s hands. More, Lao Yang has filled the anterior section of the CD case wi a folded rectangle of black sandpaper (rough side exposed front and back) and sandwiched the blade between two discs of same, a half-inch circular hole in their center. There’s no printing whatsoever to be found anywhere; all is black or silver. Not quite true–turning over the sandpaper reveals the iterated identification, “P400”, the grade of the material, I assume. But there are a couple of other, small, odd things. On my copy (I have no idea if this is the case throughout the run of 50 which, per the website, are not for sale), there are two small, about a centimeter square, placards of thin cardboard. On one, floating loosely inside the case, is a drawing of a man in glasses wearing headphones, his mouth covered by an impossible to identify shape. On the other, slightly larger and wedged between the CD backing and the back of the case, is a pair of workman’s or gardening gloves, one laid atop the other. Both drawings have a kind of ideographic quality as though they’re abstract representatives of some function or occupation. Perhaps it’s someone, and his apparel, who operates a saw.