In collaboration with Shane Aspegren 與 Shane Aspegren 合作
《農村出事情》 有什麼理由 有什麼訴求 起毛不爽
放屎放不出
說出心裡的煩惱事 別再龜龜毛毛 假假仙仙
怕會出事情
LTK Commune Panic in the Countryside What is the reason What is the requirement Feeling so unhappy Can’t let your shit out Speak out what are troubling you Stop being so pissed So fake And scared that (bad) things will happen
濁水溪公社是「台客搖滾」一詞的締造者 , 他們以低俗和暴動來顛覆所謂的搖滾 ,
並把本土庶民文化轉化成前衛噪音。他們經常直接參與街頭抗議，並和學運份子關係密切。
台灣的工人無春
野生的動物伊孝孤 幕後的英雄攏無份
我咧福氣啦福氣啦福你一摳屁 福氣啦福氣啦福你一摳毛 福氣啦福氣啦福你一摳屎 福氣啦福氣啦
么壽的頭家賺飽作伊走
什麼時候才有真正的公平 沒正義就沒和平 , 沒和平
Village Armed Youth was founded in Taichun in 2007, and inherited the subversive spirit of Black Hand Nakasi, whom they consider a source of inspiration. From the first moment they picked up their guitar to write music they had dedicated themselves to speaking for Taiwanese farmers and other minority groups, and even took part in the protest against the express rail link in Tsoi Yuen village. 農村武裝青年 2007年成立於台中 , 承襲啟蒙樂團「黑手那卡西」的街頭抗爭精神 , 他們從拿起吉他寫歌的那一刻 , 就是為了台灣農業與社會弱勢發聲 , 甚至參與了香港菜園村反高鐵運動。
4
交工樂隊
《水庫係築得屎嘛食得》 詞 : 鍾永豐 曲 : 林生祥
Economic profit was taken by the bosses There’s nothing left for Taiwan workers Resources were wasted by them Nothing for the unsung heroes Fortunate, fortunate, fortunate my ass Fortunate, fortunate, fortunate my pubic hair Fortunate, fortunate, like a piece of shit Fortunate, fortunate Bastard bosses left with full pocket
Founded in 1996, Black Hand Nakasi is one of the few bands in Taiwan that have collaborated extensively and grown with the local labor unions and worker communities. They have participated in over three hundred workers’ assemblies and protests, where they used their singing to mobilize the community and empower the sites of the movement. Meanwhile they have also devoted themselves to organizing workshops that help encourage the workers and minorities to speak out their true feelings. 1996年成立至今的黑手那卡西工人樂隊 , 是台灣少數與工運團體、勞動者長期合作、
共同成長的音樂團體之一 , 至今已參與了三百多場社會運動集會與遊行 ,
他們藉由歌唱來凝聚群眾情感 , 擴大運動現場的力量 , 同時亦投入舉辦工作坊與營隊 , 協助工人與弱勢者開始用自己的語言唱出心聲。
The Labor Exchange If the Dam Can Be Built, Then Shit Is Edible lyrics: Chung Yung-Feng song: Lin Sheng Xiang
《平埔族巴則海之歌》
Pan Xiumei Song of Plains People Pazeh
The Song of Plains People Pazeh by Pan Xiumei is a song from Sounds from the Bottom of Taiwanese Society, a long-term field research project initiated by Crystal Records that ran from 1992 to 1995. The album is a collection of sound, video and written records about sound performances in alternative folk cultures from Taiwan. The record series has two editions and 3 CDs, and includes a wide range of folk sounds ranging from Nakasi restaurant music, street cries at night markets, to underground radio recordings. 潘秀梅的《平埔族巴則海之歌》是 1992–1995年水晶唱片長期田野調查計劃
《來自台灣底層的聲音》中的一首。專輯以聲音、影像與文字紀錄台灣鄉土次文化的聲音 表演。這套錄音發行了兩輯 , 共三張 CD, 內容搜羅了那卡西酒家歌、夜市叫賣、 地下電台錄音……等等俚俗的聲音。
6
交工樂隊
《菊花夜行軍》
詞 : 鍾永豐 曲 : 林生祥 晚點名
The Labor Exchange The Night March of the Chrysanthemums lyrics: Chung Yung-Feng song: Lin Sheng Xiang
Night roll call Big yellow! Yes! 舞風車 ! 有 ! Dancing windmill! Yes! 金風車 ! 有 ! Golden windmill! Yes! 乒乓 ! 有 ! Ping Pong! Yes! 木瓜黃 ! 有 ! Papaya Yellow! Yes! 英國紅 ! 有 ! British Red! Yes! 德國紅 ! 有 ! German Red! Yes! （以上皆為菊花品種名） (All chrysanthemums breeds above) …… …… 菊花夜行軍 The Night March of the Chrysanthemums 答數 : 1234 Respond: 1234 大黃 ! 有 !
交工樂隊的主要成員為林生祥、鍾永豐 , 他們用音樂創造了新的「客家」,
不再只以單一的客家人身分發聲 , 而是以農民、勞動者、外配、回鄉青年等 各式具體的生活與多樣複雜的身影 , 涉及諸多社會議題。
《民主阿草》
人伊要來抗議那個老法統 老法統唉呀無天理 霸佔國會變把戲
歸陣閒閒在吃死米
有的嘛老搆強未喘氣 咱政府驚伊呀擋不著
Movements at an Exhibition
Wed–Fri, 星期三至五 3–7 pm
7
黑名單工作室
Gallery hours of Manuel Pelmuș:
Sat, Sun, 星期六、日 12–7 pm Blacklist Studio A-Chao in the Street Protest He came to protest against the old parliament The parliament has no justice It seizes the congress and tricks the people Making no contribution Some people there are too old to be breathing Our government is afraid they are dying soon
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www.para-site.art
Blacklist Studio was founded in 1989. Wang Ming Hui, the group leader, proposed the idea of a “Taiwanese New Music,” which was essentially an attempt to incorporate the ideas, histories, and knowledge of folk culture and sounds from the third world into the pop genre. They brought documentary richness into the production of their albums, consolidated the trajectories of history and sound, and eventually used sound to open up more space for imagination. 黑名單工作室成立於 1989年 , 樂隊主導者王明輝曾提出「台灣新音樂」的想法 , 試圖把民間觀點、歷史、知識、 「 第三世界」聲響帶入流行音樂。
他們將豐富的紀錄性帶入音樂專輯的製作 , 中介了歷史／聲音軌跡 , 以聲音打開更多想像世界的空間。
5
潘秀梅
The Black Hand Nakasi Fortunate My Ass
Our nation is controlled by big corporations Our society is controlled by the rich Our media are controlled by the parties When will there be the real justice No justice, no peace, no peace No justice, no peace No justice, no peace, no peace
8
零和與聲音解放組織
Zero and Sound Liberation Organization
Founded in 1991, Zero and Sound Liberation Organization was a key player in the launch of the noise movement in Taiwan, and they continuously attempted to “subvert the system through sound.” The eponymous album they released in 1993 was the first self-produced and self-released CD album in Taiwan. 1991年組團的「零與聲音解放組織」是挑起台灣噪音運動的重要團體 ,
持續「以噪音顛覆體制」。他們於 1993年發行的同名專輯 , 為台灣第一張自製自發自銷的 CD專輯。
The above introductions and notes are taken from the exhibition “Altering Nativism—Sound Cultures in Post-war Taiwan.” “Altering Nativism—Sound Cultures in Post-war Taiwan” is a curatorial research project launched by TheCube Project Space in Taipei. The project organizes historical documents, sound archive and artworks into exhibitions that explore the history of sound culture movements and the trajectories of various other cultural movements in post-war Taiwan before the lifting of the Martial Law; By compiling a genealogical record of sound and tracing its path to indigenality, the project reconsiders the transformative potentials of sound making. Rather than introducing a comprehensive history, or chronicle, of sound cultures in Taiwan, the exhibition offers an attitude for “hearing and interpreting sounds in Taiwan,” and attempts to enter and subvert history by means of sound. 以上介紹皆整理、摘自「造音翻土──戰後台灣聲響文化的探索」檔案
「造音翻土──戰後台灣聲響文化的探索」是一個由台北立方計劃空間所發起的策展研
究計劃 , 以陳列歷史文件、聲音資料庫與藝術作品來探索台灣戰後的聲響文化運動歷史 ,
舖陳台灣戰後歷經戒嚴時期聲響文化運動的脈絡 , 以系譜學的方法爬疏聲響「本土化」的
Para Site is Hong Kong’s leading contemporary art centre and one of the oldest and most active independent art institutions in Asia. It produces exhibitions, publications, discursive, and educational projects aimed at forging a critical understanding of local and international phenomena in art and society. Para Site 藝術空間為香港首屈一指的當代藝術中心 , 亦是亞洲歷史最悠久、
軌跡 , 並思考它再一次被「造音」轉化的可能。展覽並不意在梳理一套完整的台灣聲響文化
最活躍的獨立藝術機構之一。成立宗旨在透過展覽、出版刊物及教育項目等
之中作翻轉。
判性論述及理解的平台。
歷史或編年史 , 而是呈現一種「聆聽與解釋台灣聲音的態度」, 嘗試透過聽覺感知進入歷史
活動 , 促進在地與國際間的對話 , 希冀打造一個對當代藝術、社會現象提出批
Movements at an exhibition
經濟的大餅頭家吞
我們的媒體都讓政黨在控制
The Village Armed Youth No Justice, No Peace
22/F, Wing Wah Industrial Building 677 King’s Road, Quarry Bay Hong Kong S.A.R. 香港鰂魚涌英皇道 677 號 榮華工業大廈 22樓
展覽會之動
2
《福氣個屁》
我們的社會都讓有錢人在控制
沒正義就沒和平 , 沒和平
Loh Tsui Kweh Commune is the group best known for inventing the genre “Taik.” By performing pulp and inciting riots, they subverted the conventional genre of rock, and transformed local folk culture into avant-garde noise. They frequently take part in street protests and are closely tied to organizers of various students’ movements.
黑手那卡西
我們的國家都讓財團在控制
沒正義就沒和平
1
濁水溪公社
農村武裝青年
《沒正義就沒和平》
Para Site
Manuel Pelmuș:
聲音片段 →
3
The Labor Exchange Band was founded by Lin Shenxiang and Zhong Yongfeng, who used music to create a new Hakka identity. They did not make sounds about a single Hakka identity, but touched upon a variety of experiences and complex identities, such as farmers, laborers, foreign spouses, and return-home youths, and commented on many social issues.
9.12.2017 –––––––––––––––– 15.2.2018
sound fragments
Manuel Pelmuș: Para Site is delighted to present Movements at an Exhibition, a solo show by artist and choreographer Manuel Pelmuș. The project is a collection of movements in an ongoing live action by a group of performers, framed within the format of an exhibition. Movements at an Exhibition paraphrases the title of the piano suite Pictures at an Exhibition by Modest Mussorgsky, itself an attempt to translate painting through the language of music. In this exhibition, movement is understood both as the grammar of dance and choreography and also as the metaphorical representation of social actions and protests. The exhibition derives its movements and scores from three main sources: a subjective selection of moments from a performance and dance history of Hong Kong, abstracted images of bodies in formation during various protests in the recent history of the city, and materials from the archive Altering Nativism– Sound Cultures in Post-War Taiwan, curated by Amy Cheng, Jeph Lo, and Tung-hong Ho. The artists, individuals, and events referenced in Movements at an Exhibition include: Ronald Choi, Fung Man Ye, and “Out of Context”, a seminal exhibition organised over a weekend in 1987 in a private house in Wan Chai, Hong Kong; Auyeung Tung and the Umbrella movement; as well as Chen Chieh-jen and Taiwan’s Noise Movement of the 90s, amongst others. Movements at an Exhibition aims to re-mediate and highlight some of these artistic actions and historical events by embodying them through strategies of enactment. In some cases, they are transferred to a different medium (the body) or, when the quoted references were originally bodily actions, they are produced anew, with the intention of actualising them, as well as their surrounding history. If we agree with Dorothea von Hantelmann that one characteristic of live performance is to “make us aware that meaning takes place in the present”, then this exhibition finds value and produces meaning by recreating these historical events in a living form before the audience. While Movements at an Exhibition attempts to look through a formal lens to manifestations of politics, to their memory and representation, it acknowledges that this lens is also not devoid of politics. The episodes referenced in the exhibition took place within locally specific situations; however, they can all function in alliance with struggles and people who, in a way or another, stand up to power and authority. It is with this relation between local histories and international solidarities that this exhibition approaches possible performative histories in Hong Kong and Taiwan.
Curated by Cosmin Costinaș 策劃: 康喆明 Para Site 9 Dec 2017—15 Feb 2018
Movements at an exhibition The subjective approach and choices in this project do not claim to offer a comprehensive understanding of the history of the region, which would be expected from an art historical research exhibition. Instead, this exhibition is based on the principle of recirculating and actualising the works produced by different artists at distinct moments, affirming a collective spirit of creation. The solo show, according to the protocols of the visual art circuit, functions and is closely linked to individualisation;even when the artist tackles issues of collective concern, the commons, or political struggles. This exhibition’s intention is to challenge and to undermine this structural glorification of the artist’s unique vision. Based on a predetermined structure, Movements at an Exhibition improvises through its repetitions, making the exhibition anew each day, so that the empty space of the show becomes a place of production, rather than of mere representation. Movements at an Exhibition is curated by Cosmin Costinaș. This ongoing action is performed by a team of eight professional dancers at Para Site. The sound element was realised in collaboration with artist and musician Shane Aspegren. Manuel Pelmuș (b. 1974, Bucharest) lives and works in Oslo and Bucharest. He is one of the leading artists of the “new performance turn”, who have been reimagining the role of performance in the context of visual arts over the past decade. Most recently, his projects were shown at Tate Modern, London and Tate Liverpool (2016); Ludwig Museum, Cologne (2016); Off-Biennale Budapest (2015 and 2017); Kyiv Biennale (2015); Centre Pompidou, Paris (2014); Van Abbemuseum, Eindhoven (2014); Museum of Modern Art, Warsaw (2014); Para Site, Hong Kong (2014); and Venice Biennale (2013), amongst others. He was awarded the 2012 Berlin Art Prize for performing arts and the Excellence Award of the National Dance Centre, Bucharest, in 2014. In parallel with the exhibition, Para Site is presenting the publication Is the Living Body the Last Thing Left Alive?, edited by Cosmin Costinaș and Ana Janevski. Expanded from the 2014 eponymous conference organised by Para Site, the book is dedicated to the renewed encounter between dance and performance and the institutions of global contemporary art, marking one of the most significant developments in the art field over the second decade of our century. The book proposes that a “new performance turn” has emerged, and looks at its correlations with other shifts in practices, discourses, and broader society. While the resources associated with contemporary dance and museum programs make these phenomena primarily visible in the centres of cultural power, these developments are seen around the world. Moreover, a loosely related history of performance as part of visual art has been written for a longer period of time and in geographically dispersed contexts, often marking its own turning points and periodizations. The authors and artists included in the publication unravel these interconnected stories, and in the process point out and extend the boundaries of what is possible in the paradigm of art and performance today.
展覽會之動 Para Site 藝術空間榮幸推出藝術家及編舞家 Manuel Pelmuş 的個展《展覽
會之動》。此項目將以身體作為方法, 展覽為框架, 透過一組表演者在現場的持續 行為呈現一系列的行動集合。 《展覽會之動》的標題借用了莫傑斯特·穆索斯基
一首以音樂語言翻譯繪畫創作的鋼琴組曲《展覽會之畫》, 因此在展覽中, 動態既
被理解為舞蹈和編舞的語法, 也被視作社會運動和抗爭的隱喻。現場展出的動 作與聲音脈絡來自三部分: 香港表演及舞蹈歷史中片段的主觀抽樣、香港近期
抗爭運動中抽象的身體圖像, 以及由鄭慧華、羅悅全及何東洪策劃的「造音翻土: 戰後台灣聲響文化的探索」一展中的檔案資料。《展覽會之動》參照引用的藝術
家、個人及事件包括: 蔡義基 、馮敏兒、1987年某週末於香港灣仔一私人住宅舉
行的開創性展覽「外圍」 、梁志和、梁寶山、六七暴動、楊秀卓、進念‧二十面體、 :
歐陽東、雨傘運動, 以及陳界仁和台灣九十年代的噪音運動等。
《展覽會之動》藉由策略性的演繹方法, 試圖重見並與這些藝術行動和歷史事件 進行再一次的協商。這些事件及行動有時被嫁接至不同的媒介（身體）, 當被引
用的參考文獻原是身體行為時, 它們則經過重新生產, 再現表演本身及其所處的 歷史情境。如果我們同意策展人 Dorothea von Hantelmann 所言: 現場演
出是在「確認我們所意識到的意義是在當下發生的」, 那麼這個展覽便是以當下
acknowledgements 鳴 謝
Para Site and the artist would like to extend our deep gratitude to the following who provide crucial support and research to the project: Para Site 藝術空間及藝術家在此向本展覽下列重要支持者致以最深謝意 : Lesley Ma 馬唯中 Pan Hsiou-mei 潘秀梅 Qu Chang 瞿 暢 Spring Workshop Frankie Su 蘇珀琪 Tang Fu Kuen 鄧富權 夏碧泉檔案研究團隊 Teng Chao Ming 鄧兆旻 The Ha Bik Chuen Family 夏碧泉家人 Benson Tsang The Labor Exchange 交工樂隊 The Village Armed Youth 農村武裝青年 Dick Wong 黃大徽 Leung Chi-wo 梁志和 Michelle Wong 黄湲婷 Christina Li 李綺敏 Anthony Yung 翁子健 Lin Chi Wei 林其蔚 Zero and Sound Liberation Organization Liu Nanxi 劉南茜 零和與聲音解放組織 LTK Commune 濁水溪公社 Zhong Leming 鐘樂鳴 Jeph Lo 羅悅全
Asia Art Archive 亞洲藝術文獻庫 The Black Hand Nakasi 黑手那卡西 Blacklist Studio 黑名單工作室 Amy Cheng 鄭慧華 Freya Chou 周安曼 Ha Bik Chuen Archive team
對歷史事件的重現來創造價值及生產意義。《展覽會之動》借鏡了政治運動的
Para Site board of directors
Para Site team
Alan Lau Ka Ming 劉家明 chair
Cosmin Costinas 康喆明 executive director / curator
Jehan Pei Chung Chu 朱沛宗 co-vice chair
Claire Shea 謝 清 deputy director
Mimi Chun Mei-Lor 秦美娜 co-vice chair
Freya Chou 周安曼 curator of education and public programmes
Bonnie Chan Woo Tak Chi 胡陳德姿 treasurer
Qu Chang 瞿 暢 associate curator
Sara Wong Chi Hang 黃志恆 Secretary
Fanny Chan 陳趣源 project coordinator / curatorial assistant
Kurt Chan Yuk Keung 陳育強
Alan Y Lo 羅揚傑 Mina Park
Apoorva Rajagopal development and communications coordinator Jenny Tam 譚蔚廷 gallery manager
Yana Peel
記錄圖像, 尋覽其記憶與再現, 並認知此一觀看並非在迴避其政治意義。展覽引 用的參照雖來自十分特定的在地脈絡, 卻同時陳述著集體的掙扎及抗爭; 而本
展便是在此地方歷史與國際情境的一脈相承下, 試圖碰觸台灣及香港表演式的 歷史概念。
不同於一般藝術史研究型的展覽, 本展採取的主觀處理及選擇並非在提供對區 域歷史的全面了解, 反而是嘗試對不同藝術家, 不同時刻所生產的作品的再循環
及再現, 並以此確認一種關於創作的集體精神。「個展」在本質上是圍繞著視覺
藝術的眾多準則, 即使在處理集體關注、共同議題或政治抗爭時也總是與個體
化緊密聯繫著。 《展覽會之動》目的在挑戰和顛覆藝術家的個人光環和獨特視角, 在一個預設的結構基礎上, 採用重複的模式, 讓展覽每天重生, 使得空間變成一
個生產的場所而非僅是單純的再現。
《展覽會之動》由康喆明策劃。現場持續的表演由八位專業舞者演出; 聲音元素
Shane Aspegren (b. 1975, USA) currently lives in Hong Kong. In the field of music, Aspegren has made dozens of studio albums, one-off projects and world tours, in addition to numerous soundtracks and sound design. Alongside other current projects, he is co-founder of the electro-psychedelic group Blood Wine or Honey and founder of the Hong Kong based production studio Bellows.
Shane Aspegren (生於 1975, 美國 )
現生活於香港。在音樂領域 , Aspegren 還製作了數十張錄音室專輯、參與不同
項目及世界巡演。除了目前的其他項目 外 , 他還是電子迷幻樂隊 Blood Wine
為背景, 重新想像行為表演的角色與形態。 他曾在許多重要機構展出, 包括倫
Manuel Pelmuş: Movements in an Exhibition
伯當代美術館 (2014)、華沙現代藝術博物館 (2014)、香港 Para Site 藝術空間
Curator: Cosmin Costinaş
年獲頒布加勒斯特國家舞蹈中心傑出獎。
Exhibition production coordinator: Qu Chang
佩斯 Off-Biennale (2015)、基輔雙年展(2015)、巴黎龐畢度中心(2014)、凡艾
(2014)以及威尼斯雙年展(2013)。他於2012年榮獲柏林表演藝術獎, 並在2014 Para Site 同步推出由康喆明與 Ana Janevski 共同編輯的出版物「Is the Living Body the Last Thing Left Alive?」。這本延續自 Para Site 2014 年國 際研討會的同名出版將目光投向舞蹈、表演及全球當代藝術機構的新邂逅, 為
Graphic design: Jian Yang
Shane Akeroyd Mimi Brown and Alp Ercil Burger Collection, Hong Kong Kevin and Reina Chau Stephen Cheng Mimi and Chris Gradel Inna and Tucker Highfield K11 Art Foundation Wendy Lee
Edouard and Lorraine Malingue marc & chantal design Mina Park Yana and Stephen Peel Stefan Rihs SUNPRIDE FOUNDATION Honus Tandijono Susanne and Gregor Theisen Virginia Yee
Manuel Pelmuş:
Friends:
Associates:
Nick and Cordula Adamus-Voegtle Christine and James Boyle Lawrence Chu Andrew L. Cohen Patricia Crockett, Sprüth Magers Jane DeBevoise Faux Amandine and Edouard Hervey IEs Collection William Lim, CL3 Lisson Gallery Elaine W. Ng and Fabio Rossi Jay Parmanand and Diana d’Arenberg Esther Schipper Virginia and Daniel Weinberg Bonnie & Darrin Woo
Ada and Michael Au Cherry Chan James and Su Chen Stefano Del Vecchio de Sarthe Gallery, Hong Kong Anna Dickie ESKYIU Shirley Hiranand and Reyna Harilela Khadinn Khan Alfred Lam Yifawn Lee and Nader Rasti Angelika Li Sandy Ma, PHILLIPS Ocula Janis Provisor and Brad Davis Silverlens Isadora Tharin Leslie Van Eyck and Tom Meganck Andres Vejarano & Kee Foong
展覽會之動 策展人 : 康喆明
展覽執行統籌 : 瞿
暢
楊
堅
平面設計 :
本世紀第二個十年中最為重要的藝術進程提供註腳。本書提出一個「新表演轉
向」的現象, 並觀察它與實踐、語境和更廣泛社會議題中轉向間的相互關係。雖
然當代舞蹈的資源多來自博物館的項目, 因而使得這一現象常見於文化權力的
中心, 然而其發展仍可散見於世界各角落。 加上視覺藝術史中針對表演藝術的
Para Site Art Space is financially supported by the Art Development Matching Grants Pilot Scheme of the Government of the Hong Kong Special Administrative Region. The Government of the Hong Kong Special Administrative Region provides funding
書寫在不同的地理語境下被長時間地記錄、闡述, 雖然並無緊密的歷史連結, 卻
support to this project only, but does not otherwise take part in it. Any opinions, findings, conclusions or recommendations
相互纏繞的故事, 並在此過程中指出且拓展著藝術與行為表演在當下的可能。
在刊物/活動內(或獲資助者轄下計劃小組成員)表達的任何意見、研究成果、結論或建議，純屬「展覽會之動」的推行機構的觀點，
也擁有著自身的轉折與斷代史。 於此, 書中的作者及藝術家們逐一梳理著這些
expressed in the materials/activities (or by members of the grantee’s team) are those of the organisers of Movements at an Exhibition only and do not reflect the views of the Government of the Hong Kong Special Administrative Region.
Para Site 藝術空間獲香港特別行政區政府「藝術發展配對資助試驗計劃」的資助。香港特別行政區政府僅為該項目提供撥款資助，並無參與其中。
並不代表香港特別行政區政府的觀點。
Founding Friends:
or Honey 的聯合創始人 , 及香港製作
工作室 Bellows 的創始人。
Manuel Pelmuş (1974年生於布加勒斯特) 目前生活並工作於奧斯陸及布加
敦泰特現代藝術館、泰特利物浦美術館 (2016)、路德維希博物館 (2016)、布達
THEOUTNET.COM
除了制作眾多的配樂和音效設計之外 ,
與藝術家、音樂人 Shane Aspegren 共同合作完成。
勒斯特。他是「新表演轉向」的代表藝術家之一, 創作以過往數十年的視覺藝術
Leading Corporate Sponsor: