澎 ——朱芳琼、周松陶乐工作室第一回展


——朱芳琼、周松陶乐工作室第一回展
策展:樊林
参展:朱芳琼 周 松
开幕:2011年4月9日 星期六下午四点
展期:4.9-4.27,2011
地址:广州市农林下路五号亿达大厦G层 扉艺廊 (地铁一号线东山口站C出口)
演出特邀嘉宾:文峰 (2011年4月9日16:30开幕与朱芳琼演出)
小刀 (2011年4月9日16:30开幕与朱芳琼演出)
李带果(2011年4月16日20:00开幕与朱芳琼演出)
学术支持:广州美术学院建筑与环境艺术设计学院
Bang –
The 1st Exhibition of Zhu Fangqiong and Zhou Song’s Ceramic Musical Instrument Sudio
Curator: Fan Lin
Artist: Zhu Fangqiong Zhou Song
Opening:9th Apr., Sat., 16:00
Duration:9th Apr. – 27th Apr., 2011
Address:Fei Gallery, G Floor, Estate Plaza, No.5, Nong Lin Xia Road, GZ (Exit C, Dongshankou Station, Metro Line 1)
Sepcial Guest: Wen Feng (Perform with Zhu Fangqiong at 16:30, 9th Apr., 2011)
Xiao Dao (Perform with Zhu Fangqiong at 16:30, 9th Apr., 2011)
Douglas Lee (Perform with Zhu Fangqiong at 20:00, 15th Apr., 2011)
Academic Support: College of Architectural & Environmental Design, Guangzhou Academy of Fine Arts


这是一个旅程,从泥土、火焰和内心出发的声音和姿态共同催生出纯粹,回复音乐原本具有的天然气度。朱芳琼和周松既为制作者,亦为创作者,引领我们穿越限制的暗流,进入被量化、格式化的生活所遮蔽的自然状态,获得水的清凉、风的自由。

此次展览展出朱芳琼、周松结合音韵、陶瓷技术制作的陶制乐器,同时,在展期中会穿插有作坊活动教授拍击乐,乐队演出等活动。

This is a journey during which sheer purity of music is produced through the combination of clay, fire and sound with emotions from the artist’s bottom of heart. Zhu Fangqiong and Zhou Song are both artists and performers. They steer us clear of the reefs and undercurrents of limitations to the natural state with coolness of water and freedom of wind, which has been obscured by the quantified and routinized urban life.

This exhibition presents not only the ceramic musical instruments that Zhu and Zhou produced by means of ceramic making and musical techniques, but also episodes of band shows and percussion music workshops.




尤利西斯的大海
——朱芳琼、周松陶制乐器展
樊 林
经过数年的想象、尝试和调整,朱芳琼、周松的陶作,开始真正地具有了自己的道理,这是几年前我们大家就已经能够预见到的状态。
然而,他们究竟为此进行了多少不同材料、组合的实验,我只能将之形容为十年战争结束后的尤利西斯回家的路。我知道他们二位是不大情愿接受这样形容的,因为他们并不认为在这条路上有过太多的苦。
如果我说:源于自在内心的光,把这两个人和他们的创作照亮。也有过于奉承之嫌疑。要知道,数年前,我曾经坚定地将“朱芳琼”这个人列入我的“抗拒者名单”,所有的了解都附着于他的成名轰动之作《杀死你的梦》,我恨这个表达,也恨传递这个声音给我的那张CD。生而为人,梦都不再,夫复何求?尽管,我可以深切地体会以当时芳琼的年纪喊出这样的句子所需要的气力,但我依然将它仅仅理解为修辞,并非真正的诗句。
坦然、干净的执著,是朱芳琼在近年的音乐游历中习得的精神品质,这样的“魂”决定了他渐渐完全脱离普通音乐人往往迷恋的故作神秘的姿态,开始从经典中找寻思考的依据,甚至直接进入器物与音乐并行的境界中去。
朱芳琼、周松他们本是属于各自专业海洋的大鲸,因为具有同样的呼应和感受能力,游到了一片新的海域,共同经历过一些静寂,穿越过一些风暴,将陶的语言和鼓的语言、笛子的语言联系在一起,形成了新的音乐语汇。他们进行过的古代音乐品物考证非常丰富,按照我的了解,只是这两位艺术家更愿意以创作的角度去理解过去、外域的音乐的面貌,而并非简单停留在收集、梳理的层面。尊重材料自然的天性,遍访不同的陶瓷产地,根据器型与音质的关系进行真正意义上的创新。他们得以回避了“纸上得来终觉浅”的遗憾。
在这次呈现出来的陶乐中,我们遭遇的那些独特的造型和自然流畅的演奏方式共同形成并非简单叙事、直白抒情的歌谣。宛如来自源头的清水、草木,经过朱芳琼、周松这样的有心、有力的创作者,鲜活地还原在这个焦虑喧嚣的时刻。他们的创作引领我们接近先民的心眼和气息、咏叹和舞动,借此通道抵达他们内心的情与意。
整个展览所蕴涵的环节和意义决定了这将是一个旅程,从泥土、火焰和内心出发的声音和姿态共同催生出纯粹,回复音乐原本具有的天然气度。朱芳琼和周松既为制作者,亦为创作者,引领我们穿越限制的暗流,进入被量化、格式化的生活所遮蔽的自然状态,获得水的清凉、风的自由。
在这样的乐音中,每一个灵魂都将有所依附。

Ulysses’ Sea
Exhibition of Ceramic Musical Instruments by Zhu Fangqiong & Zhou Song

Fan Lin

After years of visioning, experimenting and adjusting, Zhu Fangqiong and Zhou Song are now able to express their philosophy through the ceramic works. We have been anticipating this for a couple of years.
I may say the numerous experiments they have taken, applying various kinds of materials and combinations, can be compared to Ulysses’ long voyage home after the ten-year Trojan War. But I know they would not admit it as they don’t think they have suffered that much during the journey.
If I say “the light that originates from their hearts has lit up their works”, it sounds like flattering. But just a few years ago, I once firmly put “Zhu Fangqiong” on my “reject list” basing on my only impression of him then - his debut album and a big hit, , really got on my nerves. I hated the expression of the title as well as the CD that conveyed the message. Born a human while deprived of dreams, what else could one hope for? Although I could keenly feel the kind of courage behind such outcry when it’s made at his age, I took it as merely rhetoric instead of poetic expression.
Adherence to his music philosophy with a calm and pure mind is a spiritual quality that Zhu Fangqiong has acquired during his learning in recent years. His pursuit of the “soul” has gradually enabled him to break away from artificially mystic posture that ordinary musicians are usually obsessed with. He began to seek inspirations in classics and finally reached the consummate state where instrument runs parallel with music.
Zhu Fangqiong and Zhou Song had been like whales in their respective territorial waters. Thanks to their identical responsive and receptive capacities, they met in a new territory. Passing through some quietness and storms together, they linked the languages of ceramics, drums and lutes to form a new musical lexicon. They have conducted a detailed study of ancient musical instruments. According to my understanding, the two musicians tend to interpret the features of past and foreign music from a creative perspective instead of simply collect and collate the data. They visited ceramic kilns in various cities to find suitable materials. Respecting the nature of materials, they achieved innovations in real sense by exploring the relationships between the shapes of instruments and acoustic qualities. Therefore when their hard work bears fruit they don’t have anything to regret.
The chants that this ceramic music show presented us are not straightforward emotional expression and simple narrations; they are like fresh water and vegetations from deep forest, formed by instruments of unique shapes and natural playing by original and devoted artists. Their works liberated us from the anxieties and uproars of modern life and ushered us to approach the rich inner world of the ancients, feeling their heart beats, breath, rhythms and dances.
This is a journey during which sheer purity of music is produced through the combination of clay, fire and sound with emotions from the artists’ bottom of hearts. Zhu Fangqiong and Zhou Song are both artists and performers. They steer us clear of the reefs and undercurrents of limitations to the natural state with coolness of water and freedom of wind, which has been obscured by the quantified and routinized urban life.
In such music, every soul feels anchored.

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