What Movements Can Tell
動作的述說 (2025)Exhibition: 8-16/2/2025
Performances: Stolen Ears; Muffled Bell | 8&9/2, 3:00pm
It’s not in the music, but it’s in the music, or not. | 15&16/2 3:00pm
我對「動作」藝術的初體驗，大概源於年少習琴的經歷。儘管老師並未明確定義何謂有效傳達的音樂性或表演性，或是當中的要素。但我漸漸體會其中一個重要準則是樂手如何表達自己 —— 不僅透過音樂本身，還包括其身體語言，如姿勢、動作，以及其自身的存在，都會影響表演的整體。近年來，在欣賞劇場演出及與編舞家合作的過程中，對這種體會愈加深刻。身體特質、物料和媒材、自身存在、概念體現、視聽關係等等表演主題，經常成為我和同行及朋友在茶餘飯後的討論話題。潛移默化中，我開始探索這些與身體相關的表演主題如何在樂手的身體，以及我熟悉的範疇 —— 在音樂或聲音中被詮釋。
《動作的述說》投射了我對樂手或聲音表演者動作的想像。這些動作可能展現於身體、機械、任何媒介或抽象形式，甚至僅存於想像之中。觀眾對作品的體驗會因切入的角度而有所不同。如果細心傾聽，或許會覺得作品富有音樂性；如果着眼於動作，則可能發現其滑稽的演出；如若思考背後的編程邏輯，將體會到別緻的科技感；當細閱作品的含義，則讀到我的個人反思與感受；或者，作品伴隨著一絲無以名狀的感覺，帶來模糊的藝術體驗。這種藝術上的模糊，在某程度上也反映我的身份 —— 從古典音樂訓練起步，然後於各種藝術形式中探索，現在又回到音樂的路上，卻不再是純粹為音樂而音樂。對我而言，成為鋼琴家的夢想變得遙遠莫及；然而，我拾回對古典音樂的熱愛、執着、以及那種五味雜陳的情感，這些種種的重遇以迂迴曲折且異常有趣的方式在這個展覽中連結起來。
My first artistic experience with “movements” was likely originated from my early childhood. Practice of playing the piano. Although my teachers did not give an explicit definition of well-delivered musicality or performativity, or what they are constituted of. I realised that one of the crucial criteria is how well musicians express themselves —— not only through the music but also through their physical presentation, such as the gestures, movements, and presence, which shape the full experience of the performance. This realisation resonates repeatedly when I was attending theatre performances and collaborating with choreographers in recent years. My peers and I often immerge ourselves into the discussion of notions of physicality, materiality, presence, embodiment, audio-visual relationship, and performativity of a good performance. Over the course of time, it has led me to explore how these body-related notions in performance are interpreted through musicians’ bodies, as well as in the practice I am most connected to —— MUSIC/SOUND.
What Movements Can Tell projects my imagination regarding the movements of music/ sound-performing bodies, which can be corporeal, mechanical, mediated, abstract, or even imaginary. The further you are engaged with the works, the varier experience it will be depending on the perspective you embrace. The works might be found musical when they are actively listened to; or witty and performative when the focus lies on the movements; techy and geeky when the computational algorithms are taken into consideration; reflective and personal when reading through the subtext; or evoking a sense of ambiguity, yet with a dim trace of artistic experience lingering. This artistic ambiguity perhaps reflects my identity as an artist —— one that began with classical training in music, wandered through various art forms, and is now revisiting music, but not in a context of music for music’s sake. Being a pianist feels like a distant dream for me now; however, my love, attachment, and bittersweet relationship with classical music have been retrieved in an interwoven and intriguing way.
Production Team
Artist Larry SHUEN
Performers CHAN Wai Lok, Larry SHUEN
Research Artists LAM Yip, KAM Shing Hei, CHAN Wai Lok
Producer Hin HON
Lighting Design Bie LAI
Space Design CHAN Wai Lok
Production Manager Nickole LI
Photography Ray LEUNG
Videography HUI Hong-nin
Visual Design CHENG Nga Yan
Collaborated by
1a space
ngau4 gat1 dei6
Equipment Supported by
Contemporary Musiking Hong Kong
WAVINCITY
Supported by
Hong Kong Arts Development Council
Special thanks
Orlean LAI
Hong Kong Arts Development Council supports freedom of artistic expression.
The views and opinions expressed in this project do not represent the stand of the Council.