McaM 展览丨“无声之后”展览作品介绍 丨Channel d. 环境电台
作品介绍
我们是否有可能检测到无声环境的赫兹，甚至将深海和山脉变为某种环境电台？在这一程中，我们跟随从中微子探测器到记忆金属等多种“聆听”和转化无声世界的艺术家实验，试图探讨在对自然的工具化（instrumental）和再现（representational）之外，这些从“无声环境”中返还的声景还意味着什么？这些创作方法带来了跨物种交流的可能性，同时也考察了伴随着现代化进程中的传输（transmissional）基础设施在特殊地理环境中（岛屿、原住民传统领地）的铺设。
Is it possible to detect Hertz in soundless environments, or even transform the deep sea and mountains into a kind of environmental radio station? Throughout this journey, we trace artists’ experiments in “listening” and reshaping the soundless worlds, from the use of neutrino detectors to memory metal. We will explore the deeper meanings of these soundscapes emerging from "soundless environments," moving beyond mere instrumentalization and representation of nature. These practices open up possibilities for cross-species communication while also examining the deployment of transmission infrastructures that accompany the process of modernization in specific geographical contexts, including islands and indigenous territories.
朱莉·弗里曼
《隐秘协议：太空、陆地、海洋》
Julie Freeman
Allusive Protocols (3 prototypes - AP: Space, AP: Land, AP: Sea)
2023
黄铜，镍钛诺线（形状记忆合金），与卫星通信、数据中心和海底电缆相关的数据，Arduino，木底座
Brass, nitinol wire (shape memory alloy), data relating to satellite communication, data centers, and subsea cabling, Arduino, wooden base
25 x 25 x 15 厘米，3件
25 x 25 x 15 cm, 3 pcs
作品由艺术家提供
Courtesy of the artist
朱莉·弗里曼，《隐秘协议：太空、陆地、海洋》
“无声之后”展览现场，McaM明当代美术馆，2023
Julie Freeman, Allusive Protocols (3 prototypes - AP: Space, AP: Land, AP: Sea)
Installation view at "Postscript of Silence", McaM, 2023
《隐秘协议》是一组系列作品，包含三个由数据驱动的动态作品原型，分别为《隐秘协议：太空、陆地、海洋》，创作欲艺术家在开放数据研究所（the Open Data Institute）驻留期间所做的一个思维实验，在此期间她考察了物质网络中的权力、外交和生态，包括使万物互联的的电缆、卫星和数据中心网络。这些材料构成信息基础设施，通常（误）被视为是瞬息万变的，并不受到现实世界环境影响。
作品谈及脆弱性，也回应这种互联性如何依赖于数十亿个微小的开关不断切换于两种状态之间。将模拟（非数字）材料置于物理世界的力学影响下，艺术家呼吁我们思考系统内部的矛盾和不平衡性。作品论及隐而不现的，通常是藏在权力背后的隐秘控制力，以及自然所掌控的力量。
在这件作品中，数据波动所产生的电流改变形状记忆电线的形状——原由黄铜平衡机制来维持。变化的程度和速度由数据决定。这些电线以有机而缓慢的方式运动，几乎就像是物理线条的绘画。
每根细电线的运动形式都由具体数据驱动：《隐秘协议：太空》的锯齿形状电线反映地球轨道卫星和地面接收器来回传递的信号。《隐秘协议：陆地》的不规则图形形状则受到大数据传输的速度和规模的影响。《隐秘协议：海洋》是一个波浪形状，回应海底电缆数据，受到数据传输的速度和距离的启发。
Allusive Protocols (prototype) is a series of three kinetic data-driven artwork prototypes - AP: Space, AP: Land and AP: Sea. It was created as a thought-experiment during a residency at the Open Data Institute investigating power, diplomacy and ecology in the material internet: the vast networks of cables, satellites and data-centers that connect us. These materials create an infrastructure of information that is often (mis)perceived as ephemeral, and therefore not connected to real-world environmental impacts.
The piece speaks of fragility, echoing how this connectivity relies upon billions of tiny off/on switches continually flipping between two states. By subjecting analogue materials to real-world forces the artist asks us to consider the contradictions and imbalances inherent to these systems. The work refers to the implicit, often hidden powers that control them and to the implicit power that nature holds over us.
Within the work, data fluctuations drive an electrical current which alters the state of shape memory wires, held in anticipation by a brass balancing mechanism. The degree and speed of the transition is determined by data. These wires move organically and slowly, almost acting as physical line drawings.
The form each small wire adopts refers to the specific data driving it: The zigzag shape of AP: Space is inspired by the signals transmitted to and from the satellites orbiting the Earth and their ground-based receivers. AP: Land’s irregular graph-like shape is inspired by the speed and size of large-scale data transfer. AP: Sea is an undulating shape. Responding to subsea cable data, it is inspired by the speed and distance of data travel.
knowbotiq
《暗物质电台工作室-耶策》
Darkish Matter Radio Studio Jeetze (DMRS Jeetze)
2021
干燥植物、装载音频软件的笔记本电脑、音频文件
Dried plants, laptop with audio software, audio file
1时11分（音频）
1h11’(Radiofile)
作品由艺术家和KAL电台提供
Courtesy of the artist and Radio KAL
由瑞士文化基金会上海办公室支持
Supported by Pro Helvetia Shanghai, Swiss Arts Council
knowbotiq，《暗物质电台工作室-耶策》
“无声之后”展览现场，McaM明当代美术馆，2023
knowbotiq, Darkish Matter Radio Studio Jeetze (DMRS Jeetze)
Installation view at "Postscript of Silence", McaM, 2023
《暗物质电台工作室-耶策》是位于德国萨克森—安哈尔特州一个小村庄的临时电台工作室，它受到基础设施不足、可再生能源系统和高科技农业的影响。knowbotiq在此建立了一个跨越地域的电台工作室，通过一系列设备和基础设施，那些过度施肥的土壤所催生的大量杂草，无处不在的风力涡轮机的皮下次声，还有在夜间捕猎时发出响亮叫声的一对仓鸮，在花园中留下它们的血便——这些声响与现场或远程录制的声音节目共同扰动。电台工作室的窗户敞开，面向花园和景观，墙壁则由外部生长的有机植物所制成的干花草装饰物填满，这些植物面板不起消音作用，却反而在此充当着回音的材料。这些使用到的植物材料是野草，包括草药和草本厨房调味料，能够从身体（声学上）和心理（精神上）影响观众。
在2021年11月和12月，《暗物质电台工作室-耶策》联合KAL电台（https://www.yesterdaytomorrow.space/radio-kal/）共同制作了一些广播节目。工作室的窗户敞开，来自外部景观的声音与广播节目在这里进行混音。KAL电台是一个自制的跨洋广播平台，“在某种语言里，kal既表示昨天，也代表明天”，由The Many Headed Hydra艺术集体的阿兹兹·索哈伊尔（Aziz Sohail），苏扎·胡瑟（Suza Husse）以及普洛莫娜·森古普塔（Promona Sengupta）共同照料。
《种子幻影：翠绿的殖民主义幽灵》，knowbotiq和Promona Sengupta，KAL电台“虎杖频率”广播系列，2021。
Darkish Matter Radio Studio Jeetze (DMRS Jeetze) is a temporary radio studio in a small village in Saxony-Anhalt, Germany, which is impacted by infrastructure deficiencies, renewable energy systems and high-tech agriculture. knowbotiq has set up a translocal radio station here, through whose equipment and infrastructure, among other things, the over-fertilized soils spewing incredible masses of so-called weeds, the subcutaneous infrasound of the ubiquitous wind turbines, and the cawing calls of the pair of barn owls on their nightly hunt, leaving their bloody droppings all over the garden, can interfere with on- or off-site produced audio programs. The windows of the studio are wide open to the garden and the landscape, and the walls are covered with an ornament of dried organic material from the plants growing “outside.” These panels function not as Sound Absorbers, but as Sound Resorbers. The plant material used for this purpose consists of the weeds, actually medicinal and kitchen herbs and plants and affect guests and listeners physically (acoustically) and psychologically (mentally).
In November and December 2021, several radio programmes were produced and broadcast at the DMRS Jeetze in the context of the KAL Radio (https://www.yesterdaytomorrow.space/radio-kal/). The windows of the studio were wide open and the sounds of the landscape mixed with the content of the radio programme. Radio KAL is a DIY radio stream of the transoceanic platform “a language where yesterday and tomorrow are the same word. kal” and is collectively cared by Aziz Sohail and Suza Husse of The Many Headed Hydra collective and Promona Sengupta. The Knotweed Frequencies episode #1:
knowbotiq, Promona Sengupta: Spectre in My Seed: Verdant Ghostcolonialisms, Radio Kal series Knotweed Frequencies. 2021
乔尔·汤姆斯
《羊膜电台：海洋空间中的声音传递关怀》
Jol Thoms
Radio Amnion: Sonic Transmissions of Care in Oceanic Space
2020-至今
2020-ongoing
玻璃、电子元件、黄铜、钢铁、铝、橡胶、Pelican安全箱、电缆、耳机；单频4K影像
Glass, electronics, brass, steel, aluminum, rubber, Peli-case, cables, headphones; single-channel 4K video
40 x 40 x 50厘米，3件；时长可变
30x40x40cm, 3pcs; various durations
作品由艺术家提供
Coutesy of the artist
乔尔·汤姆斯，《羊膜电台：海洋空间中的声音传递关怀》
“无声之后”展览现场，McaM明当代美术馆，2023
Jol Thoms, Radio Amnion: Sonic Transmissions of Care in Oceanic Space
Installation view at "Postscript of Silence", McaM, 2023
《羊膜电台：海洋空间中的声音传递关怀》是一项持续多年的海洋-月球声音艺术项目，献给地球上的生命之水。这个项目自2021年6月以来持续委任新的艺术创作，在位于太平洋2.3公里深的水域下，向太平洋致以歌颂、爱与哀愁。每一轮满月之时，它在距离温哥华岛海岸线300公里外的海域上，太平洋卡斯卡迪亚海盆下的远古深渊，与关心地球水界的青年当代艺术家和实验音乐家所创作的哀伤频率和声音发生共振。《羊膜电台》是一个“宇宙政治”艺术科学项目，隶属于慕尼黑工业大学的SFB1258——由中微子和暗物质研究小组所开发的实验性水下中微子望远镜，并与加拿大海洋观测网络合作。每当满月之时，听众可以通过专用网站来收听非本地广播。
https://radioamnion.net
Radio Amnion: Sonic Transmissions of Care in Oceanic Space is a multi-year ocean-lunar soundart project for the life bearing waters of Earth. Since June 2021 they have been commissioning and relaying new artists’ compositions of affirmation, love, and lament 2.3 kms deep with/in -- and addressed to -- the Pacific Ocean. During each full moon, 300 kms from the shores of Vancouver Island, the ancestral abyss of the Pacific’s Cascadia Basin resonates with the elegiac frequencies, voices, and soundings of critical emerging contemporary artists and experimental musicians interested in caring for the hydrosphere of Earth. “Radio Amnion” is a “cosmopolitical” ArtScience project attached to an experimentally submerged neutrino telescope developed by the SFB1258: Neutrino and Dark Matter Group at the Technical University of Munich, and is in partnership with Ocean Networks Canada. During each full moon, listeners can tune into the nonlocal transmisison by way of the dedicated website:
https://radioamnion.net
娜斯塔莎·西蒙斯基
《水中线圈》
Nastassja Simensky
Rings on Water
2022
立体声音频
Stereo audio
46分7秒
46”7’
田野录音、人声、文本 – 娜斯塔莎·西蒙斯基
Field recordings, vocals, text - Nastassja Simensky
声音处理、编辑、传输、混音 – 瑞贝卡·李
Processing, editing, transmissions, mixing - Rebecca Lee
娜斯塔莎·西蒙斯基，《水中线圈》，2022
图片由艺术家惠允
Nastassja Simensky, Rings on Water, 2022
Courtesy of the artist
《水中线圈》是一组声音田野记录，是“疏漏传输”这一持续进行中的艺术与研究项目中的一部分，形成自埃塞克斯郡错综缠绕的黑水河河口。
《水中线圈》使用了各种录音和传输技术，从FM广播、磁带、线圈接收器、水听器和接触式麦克风，穿行于登吉半岛的盐沼地保护区、页岩地和工业耕地间。作品使用慢扫描电视以及“无线电”政治作为传输、碰撞、翻译和干扰的手段，来探讨土地使用和能源生产变化的物质遗产。
许多人类传输的类型在这片河口交织，并留下它们的印记，而河口本身也成为一个日益受到监管和私有化的空间。蜂窝网络与无线网络汇合，电气变电站与蓝牙信号汇合，慢扫描电视与业余无线电传输汇合。布拉德韦尔A核电站内辐照的高频短波长，与业余无线电及雷暴和太阳活动产生的超低频信号的长波，分别位于无线电频谱的两端。从河口的传导性地质到零星喷散的背景辐射，再到地球广袤而横扫一切的电磁场，非人力量持续存在。
2022年春夏录制于埃塞克斯郡的黑水河河口与诺丁汉Primary机构。
Rings on Water is a collection of sonic fieldnotes developed as part of “Leaky Transmissions”, an ongoing body of research and artwork shaped by the unruly entanglements of the Blackwater Estuary in Essex.
Rings on Water uses a variety of recording and transmission technologies, from FM radio, magnetic tape, coil receivers, hydrophones and contact mics to traverse the protected saltmarshes and shale banks of the Dengie Peninsula and industrial arable land. Slow Scan Television, and the politics of “radio” as a means of transmission, collision, translation and interference are used to consider the material legacies of changing land-use and energy production.
Many types of human transmission commingle and leave their mark on the Estuary, which is itself an increasingly regulated and privatized space. Cellular networks coalesce with wireless connections, electrical substations with Bluetooth signal, slow-scan television with ham radio transmissions. High-frequency short wavelengths of irradiated graphite within Bradwell A Power Station occupy the opposite end of radio spectrum to the long wavelengths of amateur radio and VLF signals generated by thunderstorms and solar weather. Non-human forces persist, from the Estuary's conductive geology, to sputtering background radiation, to the Earth's vast and sweeping electromagnetic fields.
Recorded Black Water Estuary Essex, and Primary, Nottingham, spring/summer 2022.
娜斯塔莎·西蒙斯基
《伊坦卡斯提尔：原子城墙》
Nastassja Simensky
Ythancaestir: Atoms on the Wall
2022
单频高清4:3影像
Single-channel HD 4:3 video
16分44秒（彩色，立体声）
16’44” (color, stereo sound)
作品由艺术家提供
Coutesy of the artist
娜斯塔莎·西蒙斯基，《伊坦卡斯提尔：原子城墙》
“无声之后”展览现场，McaM明当代美术馆，2023
Nastassja Simensky, Ythancaestir: Atoms on the Wall
Installation view at "Postscript of Silence", McaM, 2023
《伊坦卡斯提尔：原子城墙》是一部四段式影像作品中的第一段。在埃塞克斯郡的黑水河河口和布拉德韦尔，业余无线电被用于生成实验性音频和视频记录；接触式麦克风用于记录振动；线圈接收器用于记录电磁信号；水听器用于记录河口潮汐泥滩中的声音。这部影像作品通过河口的当代物质文化，来反思土地使用、监管和工业残余的政治变化。影片中包含利用基林曲线在圣彼得教堂录制的《原子城墙》的表演素材，以及来自娜斯塔莎·西蒙斯基和丽贝卡·李的作品《水中线圈》里的声音。
Ythancaestir: Atoms on the Wall is the first episode in a four-part moving-image work. Working in the Blackwater Estuary and Bradwell in Essex, ham radio is used as a tool to generate experimental audio and video recordings; contact microphones are used to record vibrations; coil receivers to record electromagnetic signals; and hydrophones to record sounds in the intertidal mud of the estuary itself. This moving image work uses the contemporary material culture of the estuary as means to reflect upon the changing politics of land use, stewardship and industrial afterlives. The film includes material from Atoms on the Wall, a performance in the Chapel of St. Peter on-the-wall by The Keeling Curve and sounds from Rings on Water by Nastassja Simensky and Rebecca Lee.
张北辰
“太阳升起，大北电报站沉入海底”
Beichen Zhang
The sun rises, the Great Northern Telegraphy Station sinks into the sea
2018-2023
作品由艺术家提供
Courtesy of the artist
张北辰，“太阳升起，大北电报站沉入海底”
“无声之后”展览现场，McaM明当代美术馆，2023
Beichen Zhang, The sun rises, the Great Northern Telegraphy Station sinks into the sea
Installation view at "Postscript of Silence", McaM, 2023
项目“太阳升起，大北电报站沉入海底”聚焦在中国东南海岸线的鼓浪屿，项目搜寻了“光线”、“电报”、“旗语”等一系列通信手段与丛林、土地及鼓浪屿海岛所构建的物理连接与历史联系；探查了这些信息媒介经由探险者传入，在岛民和外来者的共同编排下进行交换和重组的过程，进一步梳理了其介质在不同时空中传送与接收的线索，从信息传播路径的层面映射岛屿的历史想象与当下图景。在本次展览的第一个章节中，地下通讯设施重联了地上来者与过客，光信号跟随“探险者”在丛林与历史遗址中游荡，回溯了这座岛屿曾经在20世纪初期作为“国际社区”的过往。彼时，夜间照明系统被视为一种“先进”的发明引入海岛，它们不仅传递出安全的信号，也完成了对岛屿丛林和海岸线的祛魅。在第二个章节中，艺术家以岛屿上的历史遗址——丹麦大北电报站（The Great Northern telegraph Company）旧址为入口，通过档案、历史文本展开了鼓浪屿大北电报站的历史图像的回溯和想象；基于电报图传技术以及慢扫描信号的发射、传输技术的媒介考古，挖掘了鼓浪屿被动卷入横跨亚欧大陆的电报网络这一事件，观察了深埋于地下通讯基础设施建设对于海岛的历史永久转变的现象。在第三个章节中，地下通讯设施与历史纠葛并以庞杂的触角盘踞与再造着海下的面貌。博物馆中的藏品图像以及金属探测器探测遗址的声音采样，呈现了漫长海底电缆铺设，以及向海面下挖掘的隐秘历史。在此之上的“旗语”这一海上通讯方式的编码，挖掘了北美旅行者的远洋航行日记、天气以及抵达鼓浪屿陆地的历史见闻，以呈现海上信息传递和海岛历史空间的隐秘联系。
Through a series of interplay between communication technologies, forests and islands, the project "The sun rises, the Great Northern Telegraphy Station sinks into the sea" traces the historical connotations and geophysical reverberance embedded in Kulangsu, an island on the Southeast coastline of China. The project probes the traces of communication technology, its gradual transformation and encryption when localized, delineating a chain of temporal evidence that reflects the historical imagination and contemporary conditions of the island. In chapter one, the underneath communication tools reconnect the “explorer” and “traveler”. The lit ray follows the footsteps of the “explorer” wandering in ruins, kneading the island’s past, where it was a destination for “international settlement” in the 20th century, a time when nighttime lighting was considered an “advanced” import to the island. The chapter two is composed of the installation works and the photos, spotlighting the Great Northern Telegraphy Company, one of the historical sites on the island. Through archaeological interrogations of archives, texts and images, slow-scan TV and transmission technologies, the chapter unveils the passive emergence of Kulangsu into the Eurasian telegraph network, querying the alternating forces of communication infrastructures in relation to local history. In the final chapter, the underneath communication infrastructures, local history forming an entangled web of evidence that demystifies the deep sea. The Chapters highlights the use of semaphores, a standard marine communication technology. The conjunction of photo-based and installation works seeks to recompose the mundane and historical encounters of North American voyagers as speculative specimens that bare the invisible correlation between marine communication and archipelago narrative spaces.
里亚尔·里扎尔迪
《地球戏剧》
Riar Rizaldi
Tellurian Drama
2020
单频影像（彩色，有声）
Single-channel video (color, sound)
26分25秒
26’25”
作品由艺术家提供
Courtesy of the artist
里亚尔·里扎尔迪，《地球戏剧》
“无声之后”展览现场，McaM明当代美术馆，2023
Riar Rizaldi, Tellurian Drama
Installation view at "Postscript of Silence", McaM, 2023
1923年5月5日，荷属东印度政府在爪哇岛西部落成了一座新的广播电台，它被称为马拉巴尔广播电台。到了2020年3月，印尼当地政府计划重启并活化这个电台，并将其打造成一个历史遗址和旅游景点。《地球戏剧》想象了在这两个时间点之间可能发生过的故事：山脉在历史中的重要角色；殖民废址作为地球工程技术的器具；以及原住民祖先的无形力量。《地球戏剧》的叙事从著名伪人类学家穆纳尔万博士所写的一段被遗忘的文本展开，探讨了去殖民、以地质为核心的技术和通信历史等主题。
May 5th, 1923. The Dutch East Indies government celebrated the opening of a new radio station in West Java. It was called Radio Malabar. In March 2020, the local Indonesian government plans to reactivate the station as a historical site and tourist attraction. Tellurian Drama imagines what would have happened in between: the vital role of mountain in history; colonial ruins as an apparatus for geoengineering technology; and the invisible power of indigenous ancestral. Narrated based on the forgotten text written by a prominent pseudo-anthropologist Drs. Munarwan, Tellurian Drama problematizes the notion of decolonization, geocentric technology, and historicity of communication.
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正在展览
2023.11.4 - 2024.2.25
策展人
龙星如、钱诗怡
助理策展人：陈子涵
艺术家
Vibeke Mascini & Ella Finer 、费亦宁 Fei Yining、Julie Freeman、刘窗 Liu Chuang、Nicole L’Huillier、许家维 Hsu Chia-Wei、Knowbotiq、Jeroen van Loon、Nicholas Mangan、Yuri Pattison、Diana Policarpo、Shubigi Rao、Riar Rizaldi、Susan Schuppli、Nastassja Simensky、Himali Singh Soin、苏郁心Su Yu Hsin、Jol Thoms、Nomeda & Gediminas Urbonas、Richard Vijgen、Susanne M. Winterling、黄美婷 Cosmo Wong、张北辰 Zhang Beichen
展陈设计
王一帆
主办
明园集团
McaM明当代美术馆
出品人
李松坚、凌菲菲
地址
上海静安区永和东路436号
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