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In Service Of A Song

Performed at Haus der Kulturen der Welt, Berlin, 9th-12th November 2017. Exhibition at Galerie Isabella Bortolozzi’s Eden Eden, 17th February – 17th March 2018.

A performance at Haus der Kulturen der Welt and a month long exhibition at Galerie Isabella Bortolozzi’s Eden Eden, In Service of a Song is a musical work without sound. It invites the viewer to experience the possibilities of sonic imagination. Four improvised performances, each lasting thirteen minutes, took place on consecutive days inside a soundproofed installation. Surrounded and filled to ankle-height with soil, the structure appeared to have forced its way into the building through the floor, like a plant growing through a crack in the concrete. Inside this installation, whose glass panels allowed it to become one with the architecture of HKW, the artist was joined by an array of sculptures, gymnastic rings, and her own tortoise, the only other living organism to witness the performance from inside. In its second phase the work became an exhibition, featuring a four-channel video recording of the performance displayed alongside the sculptural installation, both expanding and distorting the meaning of performance in the gallery space. To liberate the listening experience, In Service of a Song encouraged its viewers to reroute their gaze.

作为一场在柏林世界文化中心的表演暨在Isabella Bortolozzi画廊的Eden Eden空间的为期一个月的展览，In Service of a Song是一个没有声音的音乐作品。它邀请听众体验声音想象的可能性。四个即兴的表演，每个三十分钟，在隔音的装置里连续进行。被脚踝高度的泥土包围和覆盖着，装置结构看起来像是强制地通过地面进入建筑，好似一株生长在混凝土裂缝的植物。在装置内部，玻璃面板使它与世界文化中心的建筑合二为一，艺术家被一系列的雕塑，体操环，和她自己的乌龟所陪伴。在第二阶段，作品变成了一个展览，展出了记录了表演的四频道录像和雕塑装置，即延伸又扭曲了表演在画廊空间的意义。为了解放聆听体验，In Service of a Song鼓励观众重新调整他们的凝视。

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Untitled Series

2014-present.

Daijing’s performance practice began in 2014 through her continuous touring as a noise musician. All those different performances became a form of autodidactic research in the hyper-vulnerability of the performer, their connection with the audience and the conditioning effect of location and environment.

From churches to theatres, from power plants to historical sites, performing solo, often appearing masked and in a suit, Daijing metabolised the power relations and hierarchies inherent to live work and the relationship between the individual body and built environments. Instead of documenting the performance itself, she often films the audience from the stage and the footage becomes part of the research. It’s in these years that scale and improvisation emerged as central elements to Daijing’s compositional practice and the question of how to articulate the unspeakable, even the unrecognisable, aspects of human experience through music, storytelling and performance.

岱静的表演探索开始于2014年，她以噪音音乐人身份的持续巡回演出。所有不同的演出在表演者的高度脆弱性，与观众的连接和位置环境的条件共同体作用下成为一种自学研究材料。从教堂到剧院，从发电厂到历史古迹，单独表演，时常戴面罩穿着西装出现，她的呈现消解了生活工作与个人身体和建筑环境间固有的权力关系和等级结构。与其记录下表演本身，她经常从舞台拍摄观众，影片片段继而研究材料的一部分。就是在这些年里，规模和即兴逐渐成为岱静作曲实践的核心元素；通过音乐，讲故事和表演如何阐释不可言说，甚至难以辨认可以描述的以人类为核心的经历。