第三階段新作已於四月十六日上線!

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「Elevator Music Generator#2- Muzak Radio」 Chi Po-Hao

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Schedule

An Interview with Yan Jun: Living Room Tour

2 episodes in total. (Duration: 15 minutes per episode) 
Bejing-based sound artist Yan Jun visited Taiwan in September 2019. Apart from joining the performance No One’s Island delivered by Noise Assembly at the Taipei Arts Festival, he also conducted field research in Taiwan for a week. Jeph and Amy from TheCube Project Space seized this opportunity to interview him. The interview is divided into two episodes. The first episode features Yan’s “living room tour” as his form of performance in recent years, and the second episode discusses why he termed his performance “music/non-music.”

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Interview with Jun Yang: I’m Jun Yang

1 episode in total ( around 20 mins)
Jun Yang, who has just staged his large-scale mid-term retrospective exhibition in Graz, Austria in early 2019, talked about his surprising works in the two episodes of the program. The first episode discusses his latest creation Bao Bin / Kakigori, a children’s picture book on the history of shaved ice, produced in collaboration with a Japanese illustrator. In fact, this picture book is a catalogue of a sculptural project. In the second episode, Yang talks about his real-life experiences and his participation in the management of ra’mien (a restaurant in Vienna, Austria)—it is not only an art project, but also a successful restaurant in reality.

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Hassan Khan: tabla dubb

13 tracks
tabla dubb is an audiovisual performance where music composed and performed by the artist (sampled spliced edited and processed tabla beats, generated tone patterns, processed frequencies) is mixed to a live edit of an archive of imagery shot and edited by the artist.

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Ge Chang-Huei: EdiGenics radio drama 2: Smart is Hope

5 episodes in total. (Duration: 20 minutes per episode)
The second season of EdiGenics follows its consistent spatio-temporal setting of near-future Taiwan, a time when the climate becomes inhospitable and the widening gap of inequality between social classes leads to the growing disparity between rich and poor. “NOLANDOR,” an emerging biomedical company, claims that it can engineer the DNA sequences of human embryos to improve kids’ IQ (known as the IQ+ gene-editing procedure and IQ+ kids), on condition that these kids will have elf-like pointy ears as a phenotype.

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Tseng Po-Hao: The technique of narrative and musical performance

6 episodes in total. (Duration: 20-25 minutes per episode)
As a form of performing arts passed down over centuries and still thrives today, narrative and musical performance is not only a useful skill in the ganghood, but also a means to encrypt and relay messages. Apart from gestures and facial expressions, the most crucial know-how about this art form lies in voice control and textual arrangement. I will share the techniques of narrative and musical performance employed in my own works, including Technique—Human Voice, Rakugo—A Broken Stick of Incense, Creation—The Canal without Cover, Creation—The Truth, and Technique—Stories and the Lower Back Pain.

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Kuo Chih-Ting, Cloud Wang: Storyteller

1 episode in total. (Duration: 15 minutes)
From the perspective of Benjamin, the demise of storytelling comes from the depreciation of experience exchange. The reason is that there is a large amount of circulating news and messages. Under the rapid transmission of information with various media nowadays, the “storyteller” disappears into the overflowing message. This work tries to return to the auditory existence of the human speaking voice. The content draws away from the identifiable facts/events and interpretations, re-constructing the narrative by using only connectives and prepositions and restores the flow of one’s inner emotion. Through the verbal and auditory nature of broadcasting, we want to experiment whether can this create a message of pure emotional experience and be received by the audiences.

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Open-Contemporary Art Center (OCAC): Beat Verbalization

2 episodes in total. (Duration: 25 minutes per episode)
Between 2012 and early 2013, the Open-Contemporary Art Center (OCAC) made a special trek between Thailand and Taiwan. It not only featured the exchange between people, concepts and practices, but also sought to redefine the possibilities for an art space. Staging this performance in Ximen, Bangkok, and Shilin, we continued this trek even after ThaiTai: A Measure of Understanding. Shuttling among several spaces left in decades of disuse, we kept knocking and renovating in the flying dust. Sometimes we were deep in thought as if we were in a library, and sometimes we made tumultuous noise like the hustle and bustle of the marketplace. It seemed that our bodies are liberated and the boundary of our cognition is blurred for good. Facing the unknown future, we are in a land of confusion, from which escape is nowhere on the horizon. It is in this state that Beat Verbalization invited a total of 17 artists/artist groups comprised of the OCAC’s members and their friends to tackle the utter chaos with different sound artworks. Such a practice is not so much retreating into the darkness as embracing the absolute chaos.

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