劉索拉
LIU SOLA

藝術家 | 劉索拉
策展人 | 谷燕
開幕 | 2023年3月18日  15:00
展期 | 2023年3月18日-4月28日
地點 | 元典美術館-北京
北京市朝陽區望京利澤西園112號
 

Artist | Liu Sola
Curator | Gu Yan
Open at 18.Mar., 2023  15:00 p.m.
Exhibition Duration | 18.Mar., - 28.Apr., 2023
Venue | Yuan Art Museum - Beijing
112# Lizexiyuan Chaoyang District, Beijing
 

20世紀90年代，劉索拉從英國移居美國紐約，身在新大陸，她在倫敦熱衷的藍調、爵士、搖滾已成往事。一種新的觀念油然而生，劉索拉發現，東方的魅力更為奇幻且豐富，儘管此時她的“藍調在東方”音樂已經取得巨大商業成功，但這並不能阻礙她另闢新境，又開始了新的實驗與冒險。 1995年，她將中國民族音樂拆成一個個小音節，一個個音符，一個個獨立的小動機。於是，帶有薩滿神秘，爵士自由，搖滾張放的《中國拼貼》（後更名：雞趕廟會）就這樣激情四射生髮出來了。 88個小節，43個反复記號裡的音節或者音符，形成43個獨立動機，自由反复、自由反复······簡單、差異甚至悖論的小動機反复，令演唱者、表演者、演奏者在舞台上放飛、自由，台下聽者同樣被帶動的如醉癡狂，猶如進入到另一個平行世界。

In the 1990s, Liu Sola moved from England to New York in the United States.Having left behind her beloved Blues, Jazz, and Rock in London, she found herself on a brand-new continent where she discovered the enchanting and rich allure of the Orient.Despite achieving enormous commercial success with her "Blues in the East", Liu Sola's novel perspective compelled her to embark on new experiments and adventures.In 1995, she split traditional Chinese music into small measures, individual notes, and independent motifs.Her exuberant work "China Collage" (later renamed "A Chicken at the Country Fair"), blended the shamanic mystery of trad itional Chinese music with the free-form improvisation of jazz and the unrestrained energy of rock.With 88 phrases and 43 repeated notes, the music is composed by 43 independent motifs that repeat freely, occasionally with tiny variations or even paradoxical repetitions.The performers, no matter singing, playing, or performing, are set free to improvise on stage, and the audience is transported to a parallel world, as if in a state of ecstasy.

上世紀90年代，移居西方國家的中國藝術家在經歷了最初的體驗之後，不約而同從身份的角度轉回到東方精神，重新思考藝術的當代性，黃永砯、徐冰、蔡國強、秦玉芬、沈遠、陳丹青、馬可魯、譚平、朱金石、谷文達、黃銳、艾未未、吳山專等，他們從易經、禪宗、文字、京劇、水墨畫、宣紙、竹子、絲綢、醬油中汲取觀念，並以反傳統的方式從新詮釋傳統，“借東打西”（黃永砯語），由此形成了既與西方中心主義不同，又與日韓相異咄咄逼人的中國當代藝術風。 以聲音、音符為創作材料的劉索拉，無疑也是這個潮流中的佼佼者。 其不斷生成的表演、演唱、樂隊、即興音樂等豐富語言，集排練、學習、交流、不斷生髮新的音樂元素或特徵一體組織方式的實驗藝術，更是從聽覺、視覺、感受、介入等多維角度，詮釋出無法複製的怪誕、瘋狂、直指人心的當代藝術力量。

In the 1990s, Artists of the Asian diaspora in Western countries found themselves returning to their Eastern spirit from a perspective of identity, rethinking the nature of contemporary art.Huang Yong Ping, Xu Bing, Cai Guo-Qiang, Qin Yufen, Shen Yuan, Chen Danqing, Ma Kelu, Tan Ping, Zhu Jinshi, Gu Wenda, Huang Rui, Ai Weiwei, Wu Shanzhuan, and others drew inspiration from the I Ching, Zen Buddhism, calligraphy, Peking opera, ink painting, rice paper, bamboo, silk, and soy sauce etc., reinterpreting traditional elements in counter-traditional ways, “inquiring the West with things borrowed from the East”, as Huang Ying Ping put it .This led to the emergence of a unique style of contemporary Chinese art that was both different from Western-centric art and distinct from Japanese and Korean art.Liu Sola, who composed with sound and musical elements, undoubtedly stood out among these artists.Her constantly evolving experimental art, including performances, singing, bands, and improvisational music, combined rehearsal, learning, and communication, generating new musical elements and characteristics from multiple perspectives, involving multiple dimensions of audio and visual, perception and interaction.The result was an unrepeatable power of contemporary art that was grotesque, maniacal, and soul-touching.

索拉的樂譜，常常以一種調侃與頑皮，消解作曲家樂譜固有的聖旨般不可更改機械表達，讓演奏者能感受到她給予的活著的音樂提示。 她的樂譜裡動機、空白、重複、圖形等手段，即是她激發自己不停地創作“活”著的音樂的手段，更是她激發出演奏者最大光華、即興演奏產生新的音樂重要手段，唯其如此，創作者、演奏者才都活在作品裡了。 “我在寫譜子的時候想著每個人，如果我的樂譜能讓樂手在設定的聲音指向中釋放其特有的個性，就算是寫對了”索拉如是說。而德勒茲在《千高原》中說：一些現代音樂家反對先驗的“它”總將於自身繁衍的不可知物呈獻給知覺，將差異化的加速或減慢置於某種分子重疊中。有趣的是索拉的創作並非事先受到德勒茲理論的影響，而是在做了自己選擇的音樂後，從德勒玆理論中找到了理論依據。

Sola's compositions often exhibit a playful and mischievous tone, dissolving the traditional rigidity of composer's sovereignty, and empowering performers to feel the lively breathing music cues.The motifs, blanks, repetitions and shapes in her scores are not only means of encouraging herself to create living music but also a way of inspiring performers to improvise and create authentic music.This is how composers and performers truly exist within the work."When I compose, I think of everyone.If my scores can allow performers release their unique personalities within the designated sound cues, then I've written it rig ht," said Sola.Meanwhile, Deleuze states in "A Thousand Plateaus" that some modern musicians oppose the a priori self-reproducing "unknowable" for the perception, while set differentiated ac- or deceleration in some sort of molecular overlap.Interestingly, Sola's creation was not influenced by Deleuze's theory beforehand, but rather she found a theoretical backup afterwards.

不同形狀組合的樂譜，是索拉長期艱苦自我訓練形成的創作方式，條狀、塊狀的五線曲譜或長或短，時而豎列，時而橫斜相依，時而像串珠，時而似蛟龍游動，又抑或像金字塔矩陣、沙漏。形狀的改變，令規律改變，學院教育形成的習慣打破了，想像力也緊跟著產生變化。當索拉習慣了以特殊形狀去建構音樂，音樂結構就以各種形狀大腦中排列、組合，動機、聲音自然生成。同樣對於演奏者而言，不同形狀，不同排列的曲譜，何嘗不是另一種打破固有思維、行為習慣，產生新的行為和音樂特質的暗示、刺激、訓練與生髮器？

Scores with combinations of various shapes are the approach that Sola has developed through persisting and arduous self-training.The bars and blocks of the staves may be long or short, vertical or horizontal, sometimes like beads, sometimes resembling diving dragons, or like pyramid matrices or sandglasses.Changing of the shapes leads to the change of the rules and the breakthrough of the habits disciplined by the institutional education.The imagination alters as well.When Sola is accustomed to constructing music with special shapes, the music structure naturally generates motifs and sounds rearranged and recombined in various sha pes in the mind.Similarly, for the performers, different shapes and arrangements of scores are another hint to break thinking frames and behavioral habits, and to suggest, stimulate, train, and generate new behaviors and musical traits.

此次元典美術館及Yan Art舉辦《LIU SOLA》同名藝術展覽，將索拉以生命為代價進行的實驗音樂，跳出音樂範疇放入當代藝術語境裡探討，我們可以發現，索拉的音樂實驗，反叛並不是終極目的，而是一種對於音樂創造性的誘導、激發的無止境探索，只要沒有停止演奏，索拉的藝術就永遠未完成，永遠在生髮未知的可能。

In this "Liu Sola" art exhibition, held by the Yuan Art Museum and Yan Art, Sola's experimental music, which has been conducted with her whole heart and soul, is taken out of the music category, and put into the context of contemporary art.We can see that Sola's musical experiments are not aimed at rebellions per se, but an endless exploration of inducing and inspiring creativity in music.As long as performances go on, Sola's art will never be completed, and will keep on generating unknown possibilities.

谷燕
2023年2月26日  東京
Gu Yan
26 Feb.2023 Tokyo

也許是無知無謂，索拉和我都不約而同地選擇了相信量子醫學。大膽接受尚未確定的量子醫學治療方式，其實是選擇了對未知事物的渴求與自覺無條件的信任。今天看來，結果是好的。

Perhaps ignorance is bliss, both Sola and I have chosen to believe in quantum medicine.To accept quantum medicine is to trust the unknown with total faith.The result has been great so far.

索拉的創作，劉索拉與朋友們樂隊的音樂，無數次音樂實驗產生的新變異，長期艱苦磨礪後的契合，偶發碰撞下的激情與生命，超乎夢想。最終的結果未可預知，但正如看球一樣，如果已知比賽結果，期待與未知的興奮不再，也就不好玩了。

The creation and music of Liu Sola & Friends Ensemble, through persisting passion, numerous experimenting and hard work, have exceed the wildest expectation.But, like all matters, the best is the unrealized future, yet to come.

9個月的東飄西流輾轉回到北京，曾經熟知到麻木的一切重新變得新鮮與不可知。布展即將完成，一天天落地的《劉索拉》展覽，新的夢開始了。

After nine months of voyage, I returned to Beijing.  Everything familiar became fresh and unknown again.Near the completion of installing, the Liu Sola exhibition  begins its life as a new dream.

谷燕
2023年3月14日 北京

Gu Yan
13.Dec., 2023 Beijing
Translated by James Wei Ke

作品

關於藝術家

劉索拉
作曲家、作家、人聲表演藝術家、音樂製片人

生於北京。畢業於中央音樂學院作曲系。 
曾旅居倫敦、紐約，現居北京。

劉索拉的音樂作品包括歌劇及大批影視音樂、管弦樂隊、舞蹈音樂、人聲藝術及大批民樂綜合樂隊作品等。作品包括：專輯《藍調在東方》（美國寶麗金唱片公司），此專輯進入英美世界音樂排行榜前十名；及《中國拼貼》、《纏》、《六月雪》、《虎兔搖》等；大型室內樂歌劇《驚夢》（劉為作曲與編劇及服裝設計，並參演），由德國室內樂團聯合《劉索拉與朋友們樂隊演出》；室內樂聲樂劇《驚夢》（劉為編劇和作曲），由丹麥聲樂劇院首演。她創辦的《劉索拉與朋友們》樂隊，曾在歐洲與國內巡演，深受好評，並經常參與劉的影視和劇場作品的演奏。

劉索拉的文學作品代表作有小說及散文、歌劇劇本等。曾獲全國優秀中篇小說獎等諸多文學獎項和進入各種文學排行榜前列，有英、法、意、德、日等譯文。代表作包括小說《你別無選擇》、《混屯加哩咯㘄》、《女貞湯》、《迷戀咒》等。散文集包括《語音畫》、《你活著，因為有同類》、《口紅集》等。

劉索拉曾策劃多項國際音樂節及國際大師班講座。她曾是德國世界文化大廈的國際顧問組成員。

劉索拉的樂譜設計個人展2017年在北京東京畫廊首展。她參與了國內外各種視覺和聲音藝術創作展，並獲得元典美術館2020年度元典獎。

劉索拉大型交響舞曲作品《大聖傳奇》，是她在養病期間，接受了北京國際音樂節和上海交響樂團的邀請而創作的，她把創作此作品的過程看成一次慶生的體驗。