Category: programme

Objet Sonore Deformation

The exhibition Objet Sonore Deformation at TheCube Project Space attempts to respond to how the way of listening in the human world has been dramatically transformed since the advent of recording technology – recorded sound are used extensively in sound composition, rather than playing through abstract notation tools, resulting in ‘L’Objet Sonore’ (sound object), a concept developed by Pierre Schaeffer in 1948. This concept was then seen as a reformative creation in the concept of composition and performance, subverting the aural relationship between human and sound, and laying the foundations for the development of Musique Concrète (concrete music) and today’s electronic and hip-hop music.

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Notes for Tomorrow: Curator x Artist

Notes for Tomorrow is an exhibition conceived by the Independent Curators International (ICI), featuring artworks selected by curators from around the world to reflect on a new global reality ushered in by the COVID-19 pandemic. With the ever-present backdrop of a global pandemic, the ICI and TheCube Project Space invited a total of 35 curators from over 20 countries to question and reassess the values and relevance in contemporary culture, and asked each of them to share an artwork they believe is vital to be seen today.

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Tung Shu-ting: The Culture and Taboo of Taiwanese Opera

Taiwanese Opera, a local theatre genre in Taiwan, has undergone different cultural impact in different eras, and has found a way to survive in the midst of these impact one after another. The constant change has nurtured a more diversified orientation and vitality! In this program, the focus will be on the transformation of the opera with the changes of the era, and how it has blossomed into a flower with a special flavor; In addition, the program will also share about the unspoken rules of the opera culture that cannot be violated.

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Iris Chun-Tzu Chang and Liao Yu-Hsuan: We are presented with a totality, a world which speaks to us

We use the personal experience of reading excerpts from each other’s text as a medium, without knowing the source of the other’s files, to translate the reading experience of Taiwan in a partial-lockdown state during the pandemic through sound. Each episode is a two-part structure of mysteries, mixing and collaging the sounds of field audio recordings, mimicry, music and human narrative, retaining some ambient noise, a sense of roughness and occasional over-approximation, to recreate an imaginary sound born out of the pandemic from virtual to physical and back again.

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