A three-night series of events curated by the US Composer/Sound Artist/Vocalist, Ken Ueno.
“My art practice is broadly conceived. It encompasses three main outputs: 1) “person-specific” compositions – music that can only be performed (as of yet) by the person for whom it was written; 2) performances as a vocalist specializing in extended techniques; 3) and sound installations for museums and galleries. My art lives in the interstice between concert music, sound art, and architecture. I am also an improviser.”
— Ken Ueno
Oct 9 18:00-20:00 @osage
Site-specific performances with
Karen Yu, percussionist
Oct 10 18:30-21:00 @HKU
Panel discussion with
Giorgio Biancorosso, theorist, HKU Department of Music
Thomas Tsang, architect, HKU Department of Architecture
Damien Charrieras, media theorist, SCM CityU
Deborah Waugh, performer, HKU Department of Music
Oct 11 18:00-20:00 @osage
A concert night of experimental improvised music with
Kung Chi Shing, violin
Steve Ɲerve, electronics
Fiona Lee, electronics
Shane Aspegren, drums and electronics
Site-specific installation by Thomas Tsang with Nanamu Hamamoto
More information: www.hkact.hk/act7
* Limited space available. First come first served.
Solo site-specific performance installation performance by Ueno, three-channel video installation, and performances of two recent compositions by Ueno by local percussionist, Karen Yu.
On the first night, entitled Vessel (Oct. 9), Ueno will present several recent works, including a 3-channel video installation and a solo percussion and electronics work, the highlight of which will be a new site-specific installation performance work featuring custom-built feedback circuit bowls which will be installed in the long gallery of Osage. Ueno, famous for having developed his own extended vocal techniques, will vocalize in a manner to accentuate the resonance and resonant frequencies of the long gallery. His use of a megaphone will also allow him to activate the installed feedback circuit bowls from afar.
Panel discussion: Ueno in conversation with Giorgio Biancorosso (HKU, Music), Thomas Tsang (HKU, Architecture), Damien Charrieras (City U, School of Creative Media) and Deborah Waugh (HKU, Music).
On the second night of the residency (Oct. 10) a panel discussion will offer a theoretical counterpoint to the exhibition, rather like the second of a three-part trajectory. Ueno’s art practice will provide the context for a discussion of time and space in today’s sound arts. Taking a cue from the piece premiered at Osage on the previous night, the panelists will discuss how Ueno’s practices “instrumentalize” architectural space. The discussion will then point ahead to questions about engaging communities both local and global, anticipating elements of the group improvisation Ueno has curated for the following night. This portion of the discussion will be led by Charrieras, an expert on the underground experimental music scene in Hong Kong.
The third night, Bread (Oct. 11), Ueno will lead a group of experimental musicians in a site-specific structured improvisation. To showcase the acoustic features of the Osage space, the musicians will perform at different locations. Aspegren and Lee will be stationed in the large terrace. Aspegren, known for playing drum kit, will introduce a new setup using a small resonant string instrument, electronics, and percussion. Lee will play an array of her DIY electronics. Stationed at opposite end of the long gallery, will be Hui, known for bringing viscerality into electronic performance. Kung, playing violin and indigenous flutes, and Ueno, armed with his voice and megaphone, will be mobile and traverse through and between the spaces. An intervention by Thomas Tsang three kinetic poles adorned with porcelain bowls defining motion and space will serve as counterpoint to the live musicians.
The American saxophonist/composer, John Zorn, has been running an important series in NYC for experimental music called The Stone. http://thestonenyc.com/
Famously, the curatorial protocol is that John designates a performer/composer to act as a curator for a weeklong residency. For Ueno’s residency at Osage, Ueno would like to curate a mini-series of three different nights of events that present three different aspects of his activities as a composer, academic, and curator/performer. Besides taking the opportunity to make art that Ueno feel compelled to make, Ueno would also like to take the opportunity to create a space to involve local performers and scholars and promote cultural exchange.
Osage Art Foundation
U.S. Consulate General Hong Kong and Macau
Faculty of Architecture, The University of Hong Kong
Department of Music, The University of Hong Kong
Knowledge Exchange Office, The University of Hong Kong