密集音乐会 23 miji concert 23

袁志伟 yuen cheewai;闫玉龙 yan yulong;刘心宇 liu xinyu

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2015年4月24日;晚8点准时开始
建议捐赠:40元
时差空间(北京市东城区美术馆后街77号77文创园)

袁志伟(新加坡)
乐手、用声音进行创作的艺术家,曾在国内国际大量表演和参展,为展览、舞蹈、电影和广播电视设计声音、作曲。他以即兴声音和噪音探索闻名,同样也因音乐创作中的长音、氛围、田野录音手法而著称。
他对哲学、文学、电影和文化研究有浓厚兴趣,常常将文字和概念与声音作品结合,以记忆、丧失、重复和不可见作为主要的主题。
2008年,与大友良英(日)、柳汉吉(韩)、颜峻(中)组建了FEN(远东电台),并在马塞的MIMI音乐节首演。随后FEN在欧洲和亚洲许多国家和音乐节表演。FEN是一个不断呼吸并进化着的即兴音乐四重奏,志在与亚洲各地不同背景的乐手和艺术家合作。
袁志伟也在前卫/实验摇滚乐队天文台(The Observatory)中演奏合成器和电子设备。天文台是一支4人乐队,全然独立,已经发表6张全长专辑(最近的是Oscilla,振荡),经常和不同领域的艺术与戏剧项目合作。他们常在欧洲和亚洲巡演,并发起了Playfreely等音乐表演项目,促成有趣的乐手合作,让那些原本不大正统的音乐得以呈现。
袁志伟是亚洲音乐网络(Asian Music Network)的项目总监。这是大友良英领导的亚洲大乐团项目的一部分。他也是其中亚洲聚会音乐节的策划人。多年来,作为音乐家,他和亚洲实验、即兴音乐同行有着密切联络,同台合作,同时持续与不同领域的艺术家保持合作。他希望能够发展出一个强大的亚洲艺术家、音乐家社群。
他曾入选新加坡双年展,也是一位受欢迎的设计师。

闫玉龙
1989年生于哈尔滨,现居北京。新迷幻/实验摇滚乐队Chui Wan成员,年轻一代摇滚和实验、即兴乐手里的活跃分子,与各种不同风格的音乐家以及舞蹈工作者、剧场合作,作曲。个人演奏计划通常是电提琴或原声提琴的即兴,最初沾染于长音、极简、迷幻及声响,不限于此。

刘心宇
生于北京。北京实验音乐演出组织“燥眠夜”和“密集音乐节”的常客。08年启动自己的吉他独奏计划,出于对吉他回授与共振的痴迷,他首次演出便用30分钟不停断的大音量吉他啸叫吵走了场地内每一名观众。近年来他将对回授的注意力逐渐转移到调音台反馈上,告别了大音量噪音,更加关注细微的声音。现主要使用无输入调音台和他自制的声音装置去探索来自微观世界的声响。他同时也是 ChuiWan 和致命摇篮死乐队中的一员。
出版物:《燥眠夜第一百场纪念》(兵马司);吉他即兴合辑《手艺》(Sub Jam);与闫玉龙合作的《迷幻》(Sub Jam)

April 24th, 2015; pm 8 start sharp
suggested donation: 40rmb
Meridian Space (C&C Park, 77 Meishuguan Houjie, Dongcheng, Beijing)

Yuen Chee Wai (Singapore)
is a musician and artist working with sound and has performed and exhibited extensively locally and internationally. He has designed and composed sound for installation, dance, film and TV / radio. He is known for his improvised sound and noise explorations as well as his drone / ambient / field recording approaches to music making.
Chee Wai’s strong interest in Philosophy, Literature, Film and Cultural Studies often finds him incorporating textual ideas and concepts in his sound work, with themes like memory, loss, repetition and invisibility as main thought trajectories.
In 2008, together with Otomo Yoshihide (Japan), Ryu Hankil (Korea) and Yan Jun (China), they formed FEN – Far East Network, which made its debut at the Mimi Festival in Marseilles. FEN has subsequently played in many countries and festivals around Europe and Asia. FEN is an ever breathing and evolving improv music quartet that aims to work predominantly with musicians and artists from all disciplines across Asia.
Chee Wai also plays synth and electronics for the avant / experimental rock band, The Observatory (Singapore). The Observatory, which has to date 6 full length albums – the most recent being Oscilla – often collaborates in a wide range of art and theatre projects. A four-piece band, The Observatory stays fully independent. It has toured Europe and Asia extensively, and also has several music programme initiatives, like Playfreely, to present interesting musicians and giving them a platform to collaborate and present music work that is normally not entirely conventional.
Chee Wai is Project Director for the Asian Music Network – a project that is part of Ensembles Asia helmed by Otomo Yoshihide. In it, Chee Wai is also the curator of the Asian Meeting Festival. In all his years being a musician, he has actively performed and connected fellow Asian musicians working with experimental and improve music, and also continually collaborating with artists from all disciplines. His hope is to develop a strong Asian community of artists and musicians.
He was one of the artists in the inaugural Singapore Biennale, and a highly sought after designer.

Yan Yulong
1989, Beijing. Frontman of neo-psycho rock band Chui Wan, actively working in Chinese younger generation of rock, experimental, improvisd music scenes. He collaborate with a variety of different styles of musicians, butoh dancer, documentary theater and avant-garde composer. Individual plans are usually playing electric/acoustic violin improvisation. Initially he played drone, minimalism and modern composition… is not limited thereto now.

Liu Xinyu
born in Beijing. Regular participant in Beijing’s Zoomin’ Night and MIJI experimental music performance series. In 2008, he started a project of solo guitar performance. The first time he performed, due to his enthusiasm for feedback and resonance, he succeeded in expelling every single audience member from the room with 30 minutes of non-stop, earsplitting guitar noise.
In recent years, Liu Xinyu has gradually shifted his attention from guitar to no-input mixer as a source of feedback. Instead of earsplitting noise, he pays more attention to subtle sound. Currently, he mainly uses no-input mixer feedback and self-made sound installations to explore micro sound worlds. He is also currently a member of Beijing bands Chui Wan and Deadly Cradle Death.
Liu Xinyu’s works have appeared in: Zoomin’ Night: 100 Shows (Maybe Mars), Shouyi (Sub Jam), and Awaking (with Yan Yulong, Sub Jam).