表演

Performance



楊臥生 – 危器

特別表演嘉賓苗子，阿珍和其他


Jan Vorisek – Crisis Instrument

feat. Miu & rzhen +more 



貳月廿捌號，貳零壹捌年

禮拜陸，晚上陸點



主辦：bottomspace

場地支持：觀察社

中國廣州市海珠區穗花新邨壹巷捌號壹零貳房



楊臥生（1987年出生於瑞士）生活及工作於蘇黎世



December 8, 2018

Saturday, 6pm



Presented by bottomspace

Venue: Observation Society

Shop 102, No. 8, Road 1, Suihua Xincun, Haizhu District, Guangzhou, China



Jan Vorisek (b. 1987, Switzerland) lives and works in Zurich.





Viewed from three steps below, at street level, the space is set as a stage. The rolling gate

is partially dropped, obscuring the view, offering a narrowed gaze.


Inside, sirens on display are instruments, ready-mades, chopped and screwed. Turning on

and off, they emit states of alertness into space. The spinning lantern hanging from the

wall acts as a lure, spiraling; a hypnotized suck running on desire.


These two objects oppose each other to mimic a black hole, an oxymoron, absorbing and

swallowing everything in its approximate distance, radiating matter and energy


The table in the corner, a shrine. Comprised of business cards, it acts as a dedication to

contacts collected in various markets, documenting shopping trips in Guangzhou. WeChat

QR codes and addresses mapping the geography and economy of the city.


Cut up shop text running on fragments of a red LED panel found in the streets, gives the

space another hue.


A performance is held to reconfigure the space. Chords playing on the sirens are like

alarms, their blades cutting the air in various intensities.


Witnessed by a group of friends, the soundcheck becomes the performance. Later, spilling

onto the street, out of the unknown.



Feedback and Distortion – two inextricably connected phenomena – weave information in

on themselves and extend back into the body that they originate from as to overwrite

precisely that body they once stood beside. Jan Vorisek works across sculpture,

installation, performance, improvised music and noise. Vorisek’s installations are site-

specific commentary, ephemera and documentation – all examining formal hierarchies.

With assemblages consisting of used and found materials, as well as sound-producing

devices, the artist reflects on the fluctuation of noise as a vessel for information.

Accumulated materials and objects are disassembled into their component parts and then

subjected to new systems of organization. This can take the form of vertical formations

meandering through the room, selective markings or large-scale architectural

interventions. The subtly animated structures function as both producer of and resonant

space for sounds, which test and exceed the limits of perceptibility. Jan Vorisek’s self-

performing structures and scores are complemented by edits of sounds recorded outdoors–

echos of urban space — in which “inside” merges with “outside” and exact dimensions of

the work remain undefined.