The most brilliant cultural highlights of recent times have involved people broadcasting ideas in innovative ways, with web-based technology becoming one of the major elements in our daily life. 02022020, also a 8-digit computer-friendly code, is ideally situated in the Internet culture, ushering in the new vision of information exchange in the nearest future. On 02-02-2020, a collective of artists created a 26-hour programme of artworks and performances that were streamed on the Internet for viewers in all timezones. The Live performances with local audience were presented in 10+ cities around the world. The audience also watched the streaming of the performances and artworks in different locations.
Music for Dancing Percussionist Dancing itself begs description. The performance of the percussionist allows the body a tremendous range of movements, echoing the command of dancing. By studying one of the masterpieces of Iannis Xenakis, Rebonds A, percussionist Mei-yi Lee and composer Lam Lai examined its augmented perspective, restructured the movement of the percussionist by providing the body with its great flexibility and mobility. With the conventional notation and the new position of the drums, an unfamiliar way of dancing began to speak.
It is an imaginary world where artists are no longer exist. No one could make art anymore and it’s forbidden to mention about it. Government put people into Art elimination exam. Artists need to hide their artistic senses in order to survive. The whole performance shows 3 artists dealing with the same exam, and an interesting angle to see who has the artist senses and who has already given up. And eventually what is that absurd world?
The most challenging work for musicians and actor is, they are not supposed to act or pretend that they don’t have the senses. If they do so, the system could recognise it. They need to find a way to distract the system from scanning for their senses in the exam. It is a tense and at the same time humorous performance.
Actor: Marijn Prakke
Harpist: Liesbeth Vreeburg
Percussionist: Mei-yi Lee
Munich Biennale, Festival for new music theatre, BUBBLE ❤
A coproduction of the Munich Biennale with Musik der Jahrhunderte Stuttgart, commissioned by the West Kowloon Cultural District; in cooperation with Connecting Spaces Hong Kong / and the Zurich University of the Arts; and the Goethe Institute Hong Kong With kind support by LOVAAS Sponsored by the German Federal Cultural Foundation
In Bubble <3, an audience is led on a guided tour of an apartment block, repeating the same walk three times around the exterior of the building before finally entering a domestic living space. Audience members are encouraged to form different sub-groupings for each of the repeated walks through various methods of performative and spatial intervention. Specially conceived vignettes of everyday activities take place as the walk progresses; a cacophony of musical outbursts, random noises, and unfiltered dialog simulating the endless chatter of anonymous trolls on online forums.
With every repetition, a moment of familiarly is muddled by confusion about the authenticity of events encountered. This culminates in the interior scene, where the bubble of speech is replaced by the mute bubble of four walls, and previously unplaceable sounds take on new significance as a composed sonic-architectural configuration.
The elevated cloud of a dream Music theatre work for electronics, Cello and guitar
performed by Wen Chin Fu on Cello and Lam Lai on Guitar
‘Space is elevated, the ground is elevated, even time is elevated.’ Robert Schumann wrote a set of thirteen pieces of music, ‘Scenes of Childhood’, for piano in 1838. Movement No. 7 of this work, Träumerei, is one of Schumann’s best-known pieces. In 1926, cellist Pablo Casals made a gramophone recording of this piece. The elevated cloud of a dream compiles the memoir of this work of Schumann. Sound, the movement of the performers and space are braided with the stream of time.