#1 大館 30.06.2018（相冊）
#2 坪洲．大利島 04.11.2018（相冊）
#3 薩凡納藝術設計大學（香港分校） 26.01.2019（相冊）
#4 香港大學黃克兢平台、香港大學美術博學館 09.02.2019 （相冊）
#5 東蓮覺苑 23.02.2019 （相冊）
#6 虎豹樂圃 26.10.2019 （相冊）
鄺展維是香港土生土長的作曲家，創作範疇包括管弦樂、合唱、以至為各種室樂組合及獨奏者而寫的音樂作品，曾演出其作品的著名音樂家包括法國現代樂集、法國廣播愛樂樂團、斯圖加特創聲獨唱團、意大利Divertimento樂團、香港小交響樂團、澳洲Ensemble Offspring、香港創樂團、倫敦室樂團、美國Eastman BroadBand、英國克萊采弦樂四重奏、長笛演奏家Mario Caroli及直笛演奏家鈴木俊哉等，近年其作品於國際間曾於日本武生國際音樂節 (2018)、瑞士提契諾音樂節 (2018)、意大利Rondò a Bobbio (2018)、法國巴黎音樂與聲學研究中心ManiFeste音樂節 (2017)、法國拉羅克‧昂迪榮國際鋼琴音樂節 (2017)、德國東弗里斯蘭「浪潮」音樂節 (2017)、葡萄牙馬爾旺國際音樂節 (2017)、、西班牙奧維耶多夏季藝術節當代音樂系列 (2017)、香港藝術節 (2017)、意大利soundSCAPE音樂節 (2016)、香港新視野藝術節 (2016) 等之中演出。2016年，其作品《樹猶如此》獲法國現代樂集音樂總監平沙爾挑選，在樂團的香港首演中演出。
創作中鄺展維也有打破演奏廳範式的音樂作品，探討音樂作為一種體驗處境的創作方向，因此除場域特定音樂作品和聲音裝置，鄺展維亦曾與來自其他範籌如視覺藝術、舞蹈和劇場等的藝術家多次合作。2018-2019年鄺展維於《聽得見的城市》擔任策劃及作曲，計劃與香港創樂團、聲音掏腰包及視覺藝術家鄧啟耀合作，由何鴻毅家族基金之「藝術 ‧ 改寫香港」計劃資助，在此計劃中鄺展維為香港多個非音樂廳場域創作一系列的場域特定作品，名為《亞特拉斯》。
鄺展維早年於香港中文大學及倫敦大學國王學院修讀音樂，期間獲兩間院校和香港作曲家及作詞家協會等頒授多個獎學金。及後獲利銘澤百年紀念獎學金全費資助，於英國約克大學在Thomas Simaku指導下鑽研作曲，並於2013年獲頒授博士學位。此外他亦曾從國際間之作曲工作坊及大師班中隨細川俊夫、Francesco Filidei及Mauro Lanza等作曲家學習而獲重要啟迪。
1988年生於香港，藝術家鄧啟耀從城市生活當中尋找人與大自然的痕跡，並將其微渺的關係帶到創作。他於 2010 年畢業於香港浸會大學視覺藝術院(榮譽)文學士。於2014年，他獲邀參與蘇黎世藝術大學為期半年的藝術家駐留計劃。他曾獲「麥羅武中國繪畫獎」(2012)、「美思堂文教基金」獎學金(2012) 、「視覺藝術創作獎」(2010)及「友生昌中國繪畫獎」(2009) 。近年，他曾參展於香港藝術中心及比利Les Halles de Schaerbee合辦「香港味道」(2016）、京都藝術中心「音をめぐる場と表現」(2016)、德國蓋爾森基興美術館的中國八項目「Tradition Today – Ink Painting and Calligraphy」(2015)，德國柏林Momentum「為未來而創造：想象不可想象之事」(2015)。其作品更見於德國、瑞士、日本、中國、台灣和香港的各個藝術館、藝術機構和畫廊。
Site-specific project "Our Audible City" takes music out of concert halls, creating new musical experiences that directly transform and interfere with the soundscapes of the city. A series of specially curated performances and workshops provide a distinctive listening experience, exploring the relationship and connection between space and the people who inhabit it.
Performances: Atlas Atlas is a set of compositions specifically created for various non-concert hall locations in the city, with the music of Charles Kwong specifically written for these sites and maps drawn by visual artist Frank Tang. The unique character of each space becomes the integral part in the creation of each composition. Six performances will take place at six different non-concert hall sites in Hong Kong.
#1 Tai Kwun 30.06.2018 (Photo Album)
#2 Tai Lei Island, Peng Chau 04.11.2018 (Photo Album )
#3 SCAD Hong Kong 26.01.2019 26.01.2019（Photo Album）
#4 Haking Wong Podium; University Museum and Art Gallery, HKU 09.02.2019（Photo Album）
#5 Tung Lin Kok Yuen 23.02.2019 （Photo Album）
#6 Haw Par Music 26.10.2019 （Photo Album）
Workshops In partnership with the project’s Education Programme Partner soundpocket, and in conjunction with the performances of Atlas, two series of practical workshops on music making and sound collecting will be offered from November 2018 to March 2019:
Music Making Workshops
Led by Charles Kwong and Gip Chan, founder and director of GipPercussion Ensemble, this series of workshops are tailored for members of the community, providing insights on some of the fundamental principles of music making through discussion and practices. Participants will be given the opportunities to learn about using simple musical instruments and daily objects to create musical sound, and explore the various interesting aspects of music creation. Participants are expected to be able to perform in Atlas 4 at HKU on 9 February 2019, alongside professional musicians from the HKNME and HKU Percussion Ensemble. Join us to be part of this phenomenal performance team!
Sound Collecting Workshops
Education Programme Partner soundpocket will present a series of workshop on sound collecting. Participants will explore different media and tools to collect sound at the unique sites during the performances of Atlas, and will discover new experiences appreciating site-specific performances. Through various listening and creative exercises, participants will learn also how writing or drawing as sound collecting can be realised, and expand the knowledge about the concept of Sound Collecting.
If you are interested in collecting sounds through field recording, or experience how sounds can be written out using words and graphics, join us to become a Sound Collector and learn about the art of Sound Collecting from professional sound designers and artists.
As we lodge and live in a space, site or region, we begin to develop impressions and memories of the place we are in; our feelings for it grow from foreignness to familiarity, from which springs belongingness, dependence, and even a sense of mission to protect the place and sacrifice for it. How we define our relationship with a place or site arises from the human spiritual perception of the universe more than from animal instincts driven solely by survival. Many views, such as when and where we regard ourselves as a host or a guest, what place certain people belong to and vice versa, or what “home” is, are subjective cognition, or even an interpretation of the reality which far exceeds boundaries law can draw. Behind the sublimation of such connectedness between humans and places is in fact the experience we gain from playing different roles in these spaces, sites, and regions. Some of our acts leave traces in these places; in the same way, these places become unfading parts in the human experience.
Listening is one of the ways a human experiences a place. We often assume that sounds are heard as a matter of fact, and accept our passive role when it comes to the auditory sense. However, listening to our surroundings is in fact active and in-depth perception and comprehension at work, and is a behaviour to allow the current place to be internalised as our own experience. The ambience, which has always been present at the site, is only one of the aspects we can listen to. Like the entry of light which lends visibility to a space, the intervention of visiting sounds and their behaviour in the sites will enable a space to reveal its physical characteristics and become an audible space. Such purposeful sonic intervention of men is not only a way to explore and investigate a site that gives the listener a new level of understanding of the site, but could also be an act of aesthetic intentions that transforms an pre-existing “Nature” into a musical creation.
Site-specificity of Music
Some works of art are categorised as site-specific art. Such categorisation indicates, to a certain extent, the general non-site-specificity of artworks, which can be transferred to a completely different site without changing the nature of the content. However, when the term, “site-specificity”, is applied to music, other connotations arise.
Music is the art of sounds transforming in the dimensions of time and space. If we consider the physical nature of sound propagation in a space, the space of the site, as a vessel of the sounds, is an inseparable component in the presentation of every musical work. When a musical piece is transferred to a different site, its presentation inevitably changes along with the physical features of the space. These changes result from a myriad of factors, such as the characteristics and scale of resonances in the space, the projection of overtones leading to different timbres, the distance between the source of a sound and the listener, and also all the environmental sounds.
It is a general assumption that works of classical music and its contemporary continuation are performed in a concert hall or the like. The concert hall did not emerge in European classical music until only a few centuries ago. It is an intriguing space designed out of pure aesthetic pursuits of Western classical music, one that enables people to focus on the music they are listening to. It is constructed by highly specific conditions including the stage, auditorium, soundproofing system and acoustics designed with the Western symphonic orchestras in mind. These objective and quantifiable dimensions allow the concert hall to be easily duplicated anywhere in the world. Meanwhile, the physical differences between these venues are often considered merits and demerits. Deviations from standard acoustic designs, features unfavourable, or even damaging, to the presentation of musical works rather than a kind of characteristic of each space.
The prevalence of concert halls (and performance venues in such spirit) in modern metropolises has obscured the ontologically imminent site-specific nature of music. In fact, many music cultures in both ancient and modern times are originated from venues outside the concert hall, and some of their venues are not even designed solely for music. If the making of music starts from somewhere outside the concert hall, we will unearth the many other possibilities of sound and performance. The stage, performers and audience in these spaces could be re-situated, and infinite potential aural experiences would arise.
Atlas is a work in collaboration between visual artist Frank Tang and I. For the work we handpicked six unique non-music performance venues with exceptional spatial design. Perusing the story of each venue and listening to the sounds the moment offered us, Frank draws maps for all the spaces, I write music specifically for these sites.
Frank is deft at discovering relationships among people, the nature and places. Like how he at Tai Kwun portrays a ray of sunlight intersected by a building, a soggy sweatshirt hanging over an old tree, surveillance cameras watching our every move, Frank strung bits and pieces together to create a map of each space at the very moment from his very perspective.
Whereas in the music for Atlas, I specifically integrated the physical features of the places, such as their spatial arrangements, resonances caused by the building materials and structures, as well as the environmental sounds as the fundamental elements. These physical descriptions, or requirements, for each venue have endowed these compositions with the functionality and meanings of a map. Thus, the more particular the features of a venue are, the more difficult it is for these musical pieces to be transferred to another space. In other words, each composition in Atlas is tied to a particular site and must be performed at that site to be full and whole. If these sites undergo tremendous alteration, or even vanish, it would be impossible for these musical works to be presented in its original state evermore. They are thus short-lived music that much depends on the transient state of the sites.
The juxtaposition of music notations and maps in Atlas form a kind of conflicting co-existence in time and space: maps are records of a place in the past, while music notations are instructions for a performance to take place at this site in a future. As a place will inevitably change with time, it is almost impossible for the projections of the maps and the music notations, casting in opposite directions of time, to ever meet in reality. Due to such conflict, these works cannot serve as a scientific and objective record of the venues, nor solely as a blueprint for a performance. However, the places so idealistically depicted will remain in an eternal state in these works, waiting to be referred to, to be imagined and to be realised.
Atlas derives its name from the Titan giant in Greek mythology. It was said that when Zeus led the gods in rebellion against the Titans, Atlas sided with the Titans and was thus condemned to hold up the sky on his shoulders forever after Zeus became ruler of the Olympians. This image of Atlas holding up the sky was later printed on covers of early map books in Western cultures, and these map books are now even called atlases. We are not sure if we must also imagine Atlas happy. But the punishment he received made him a symbol of the record of the land. How Atlas’ myth and maps crossed their paths brought out the themes of “Our Audible City”: music that depends on its site and the humans who record the piece of land they rest on. Are these connections between men and land out of the our wishes and will, or a fate like Atlas receiving punishments from gods? Are these desires that we project on the land we are on and contained by the places a kind of harmony or a kind of conflict? Are the records, descriptions, and images of the land we are on meant to preserve the land, or more to prove we are witnesses of it? The sky had always been there even before Atlas held it up, but because of the punishment he received, he is remembered along with the sky and earth, and the act has become the identity he is known by. Likewise, all that we do for the place we are at is no more than this: rather than leaving traces, we simply wish for the places to become part of our transient existence.
(English translation by Heidi Chun)
Curator & Composer: Charles Kwong
Born and raised in Hong Kong, composer Charles Kwong's creative output ranges from orchestral and choral music to works written for all types of chambers ensembles and solo performers. Distinguished musicians that performed Kwong’s music include Ensemble intercontemporain, Orchestre Philharmonique de Radio France, Neue Vocalsolisten Stuttgart, Divertimento Ensemble, Ensemble Offspring, Hong Kong Sinfonietta, Hong Kong New Music Ensemble, Eastman BroadBand, Kreutzer String Quartet, Mario Caroli and Tosiya Suzuki, among others. In recent years, his music has been internationally featured in festivals such as Takefu International Music Festival (Japan 2018), Ticino Musica (Switzerland 2018), Rondò a Bobbio (Italy 2018), IRCAM ManiFeste (France 2017), Festival International de Piano La Roque d'Anthéron (France 2017), Gezeitenkonzerte in Ostfriesland (Germany 2017), Marvão International Music Festival (Portugal 2017), Ciclo de Música Contemporánea de Oviedo (Spain 2017), Hong Kong Arts Festival (2017), soundSCAPE Festival (Italy 2016), New Vision Arts Festival (Hong Kong 2016), among other presentations. In 2016, his work Lachrymae was selected by Matthias Pintscher and Ensemble intercontemporain as part of the programme for the ensemble's Hong Kong début.
In composing Kwong is also active in creating works beyond paradigms of concert hall music, extending his explorations in music as experiential situations. This has brought Kwong to the creations of site specific compositions, sound installations and collaborations with artists from other disciplines such as visual art, dance, literature and theatre. Kwong is the curator and composer of Our Audible City (2018-2019) - a project-in-progress in collaboration with the Hong Kong New Music Ensemble, soundpocket and Frank Tang, and supported by the Arts: Transforming Hong Kong Grant of The Robert H.M. Ho Family Foundation. For the project Kwong is creating a series of site-specific compositions tailored for non-concert-hall spaces in Hong Kong, titled Atlas.
Kwong studied music at The Chinese University of Hong Kong (2004-2007) and King’s College London (2007-2008), with multiple scholarships from the respective institutes and the Composers and Authors Society Hong Kong. In 2013, he earned his doctorate in compositions from The University of York under the supervision of Thomas Simaku as an R C Lee Scholar with full sponsorship from the Drs Richard Charles and Esther Yewpick Lee Charitable Foundation. He also received important benefits for his artistic development from the tutelages of Toshio Hosokawa, Francesco Filidei and Mauro Lanza, among other composers, via international academies and masterclasses.
Currently living in Hong Kong, Kwong has also been actively involved in promoting contemporary music in the scene. He was the Research Coordinator of Hong Kong New Music Ensemble in 2014-2015, and he now works with the Hong Kong Sinfonietta for the orchestra’s research and programming in contemporary music. Kwong currently teaches at the Music Department of the University of Hong Kong as part-time lecturer.
Collaborating Artist: Frank Tang Kai Yiu
Born in Hong Kong in 1988, Frank Tang uses Chinese painting and video installation as a means being provocative to human thoughts and daily behavior with nature. He received his Bachelor of Visual Arts from Academy of Visual Arts(AVA), HKBU in 2010. In 2014, he was invited to a 6-month residency in Zurich by The Zurich University of the Arts. He was awarded Grant Award by Muses Foundation (2012), the Louis Mak Chinese Painting Award (2012), AVA Award (2010), Yau Sang Cheong Chinese painting Award (2009). Tang has participated in exhibitions including, in “A Taste of Hong Kong” at Les Halles de Schaerbeek in Belgium (2016), 「音をめぐる場と表現」at Kyoto Art Center in Japan(2016), “China 8 - Tradition Today – Ink Painting and Calligraphy” at Kunstmuseum Gelsenkirchen in Germany(2015) and “Creating the future : Thinking About The Unthinkable” at Momentum in Germany(2015). His artworks have been exhibited in museums, art organizations and galleries in Germany, Switzerland, Japan, China, Taiwan and Hong Kong.
Hong Kong New Music Ensemble
Founded in 2008, the Hong Kong New Music Ensemble (HKNME) is hailed as “one of Hong Kong’s most progressive groups of musicians” (CNN). Widely praised for its innovative programming, the Ensemble’s productions include concerts, educational outreach events, and interdisciplinary collaborations and research projects with artists from different artistic fields.
The HKNME currently consists of fifteen core members who perform in versatile combinations in a variety of settings. Over the years, the HKNME has performed masterpieces of the contemporary repertoire as well as numerous premières by composers from Hong Kong and overseas, including many commissioned by the HKNME itself.
The HKNME has been featured in prominent showcases for the New Vision Arts Festival (2010, 2014, 2016, 2018), Tongyeong International Music Festival/ ISCM (Korea, 2016), Freespace Fest (2014), Le French May (2014, 2015), Macao Arts Festival (2016), Macao International Music Festival (2010), ECHOFLUXX Festival of New Media, Art and Music (Czech Republic, 2016), MaerzMusik (Germany, 2011), MONA FOMA (Australia, 2011), Hong Kong Arts Festival (2014, 2015, 2017), Cycle Music & Art Festival (Iceland, 2017) and Shanghai New Music Week (China, 2018).
The Ensemble has collaborated with renowned organisations such as Zuni Icosahedron, the Hong Kong Chinese Orchestra, Guangdong Modern Dance Company and Alice Theatre Laboratory. The HKNME has also been invited to organise events in partnership with the Hong Kong Arts Centre, West Kowloon Cultural District Authority, Spring Workshop, Asia Society Hong Kong Center and the Goethe Institute Hongkong. A regular collaborator with music departments of all tertiary institutions in Hong Kong, the HKNME has been Resident Company at the Hong Kong Academy for Performing Arts (2013-2015).
The HKNME has been annually funded by the Hong Kong Arts Development Council since 2012, and twice received project grants from the Arts Capacity Development Funding Scheme of the HKSAR Government to present The Modern Academy.
soundpocket is a promoter, educator, facilitator, and gatherer. We work in the fields of sound, art and culture. We find sound in diverse and dynamic relations with many different art forms (visual art, installation art, music, theatre, dance etc.), and with a variety of cultural contexts that give meanings to our lives. We would like to work with all those who share this active interest in sound.
soundpocket supports not just an art form, but ideas and possibilities that engage with aesthetically meaningful, culturally-grounded and publicly relevant sonic practices, which have a lot to teach about how we understand the world and the experiences yet to be valued.