{"id":7400,"date":"2016-06-07T11:37:00","date_gmt":"2016-06-07T11:37:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=7400"},"modified":"2022-12-15T11:40:14","modified_gmt":"2022-12-15T11:40:14","slug":"orchestrations-samson-youngs-version-of-utopia","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/orchestrations-samson-youngs-version-of-utopia\/","title":{"rendered":"Orchestrations: Samson Young\u2019s version of Utopia"},"content":{"rendered":"\n<p><strong><a href=\"https:\/\/www.randian-online.com\/zh\/np_announcement\/tools-to-orchestrate-public-programmes-for-samson-youngs-orchestrations\/\">Samson Young: \u201cOrchestrations\u201d<\/a><\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.randian-online.com\/zh\/np_space\/parasite-art-space\/\">Para\/Site<\/a><\/strong>&nbsp;(22\/F Wing Wah Industrial Building, 677 King\u2019s Road, Quarry Bay, Hong Kong, China),&nbsp;<strong>May 27\u2013Jun 12, 2016<\/strong><\/p>\n\n\n\n<p>You might not have guessed from Samson Young\u2019s eclectic work that he is a classically trained music composer; or maybe you would, given how intellectually challenging some of his pieces are. But that is the exhilarating aspect of navigating through his works. Just when you feel your mind is being bogged down by all that Hong Kong history, that familiar Cantonese nursery rhyme comes tunneling through. And when you think that sound might as well come from any bell in any cathedral or school in the world, it transpires as that of a Nazi-confiscated bell that survived WWII. If there is anything consistent about Young, however, it is his unrelenting desire to create a language\u2014a set of decrees, if you will, that is uniquely his own.<\/p>\n\n\n\n<p>\u201cOrchestrations\u201d, born of a year of musicological research into the history of orchestras, continues the artist\u2019s obsession with creating a formalistic narrative that can, at times, seem a tad chaotic.<\/p>\n\n\n\n<p>The modern orchestra in the Western tradition is a relatively recent conception. Previously, music-making had been less reflexive, about picking up an instrument\u2014be it a violin, flute, or cornet\u2014and playing it. It wasn\u2019t until the early 1600s, when an Italian composer by the name of Claudio Monteverdi came along, that the tradition of writing music for a specific ensemble into being.<\/p>\n\n\n\n<p>Fast forward 400 years and Young\u2019s exhibition is dissecting the power play inherent in idea of the orchestra. He subsequently uses this to question the power of language, the flow of information, and identity politics.<\/p>\n\n\n\n<p>A newly commissioned video work, \u201cOrchestrations\u201d, weaves together footage of Hong Kong community orchestras and a series of interviews, provoking the reimagination of relationships between composer and musicians, performers and the audience.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/07\/DSC7140.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/07\/DSC7140-528x351.jpg\" alt=\"\" class=\"wp-image-77260\" \/><\/a><figcaption class=\"wp-element-caption\">\u201cOrchestrations\u201d exhbition view<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"351\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1403.png\" alt=\"\" class=\"wp-image-7401\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1403-300x199.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1403-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1403-451x300.png 451w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1403.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u201cOrchestrations\u201d exhbition view<\/figcaption><\/figure>\n\n\n\n<p>In a sense, the idea of \u201ccommunity orchestras\u201d hews to Cornelius Cardew\u2019s Scratch Orchestra. The English experimental composer\u2019s piece \u201cParagraph 7\u201d (1971) asks that each orchestra member sing a word from Confucius for a set number of times, sustaining each repetition for the duration of their individual breath. When it is time to move onto the next line, each member takes their next pitch from another vocalist in the group. As such, the pitch content of the piece gradually narrows until there is one note left. By allowing anyone\u2014as long as they can hold a pitch\u2014to participate, this constitutes a \u201cfreeing\u201d of the art form; yet Cardew\u2019s method was also highly formalistic\u2014in fact, not unlike Bach\u2019s structure-led approach.<\/p>\n\n\n\n<p>For \u201cOrchestrations\u201d, the instructions are laid out in an oversized tome, its first page noting the myriad of meanings that an \u201corchestra\u201d can take on\u2014as a space, sculpture, unity or army, among others. This is not Young\u2019s first orchestra. The brilliant \u201cAnatomy of a String Quartet\u201d (2014) examines the way technology can be reconfigured to act as a musician\u2019s body. Inevitably, a flesh-and-blood orchestra is more difficult to control than one made of laptops and iPhones. The moral implications for a human orchestra are also much greater.<\/p>\n\n\n\n<p>From afar, \u201cMastery of Language Affords Great Power\u201d (2016) appears from afar like any other musical score. On closer inspection, however, it becomes clear that such cheeky similes as \u201ccrisp as an Asian pear\u201d and \u201cshine like justice\u201d have taken the place of traditional musical terms. While \u201cAsian pear\u201d alludes to Young\u2019s cultural identity, \u201cjustice\u201d is a nod to the artist\u2019s long-standing interest in identity politics. And it is at this point that the personal effortlessly spills over into the socio-political. Far from being a random dictum, \u201cMastery of Language Affords Great Power\u201d references Frantz Fanon, the Martinique-born philosopher and revolutionary famous (among other things) for the idea that \u201cto speak means to be in a position to use a certain syntax\u2026to assume a culture\u201d when analyzing the inferiority-superiority complex between the colonized and his conqueror in his 1952 book Black Skin, White Masks. Hong Kong obviously suffered from a similar complex during the British colonial years\u2014the effects of which arguably endure today.<\/p>\n\n\n\n<p>Opposite Fanon\u2019s quote, viewers are confronted with \u201cSDIHK\u201d (2015), a series of three black granite slabs upon which is inscribed \u201cto speak a language is to take on the world.\u201d Beyond the formidable statement, there lies a slew of staffs, variously expanding and constricting at will and taking on spontaneous and bizarre shapes and forms. But alas, are they really spontaneous? Adjacent to \u201cSDIHK\u201d and hung neatly on a white will, \u201cPastoral Music (But It Is Entirely Hollow)\u201d (2015) brings Young\u2019s obsession with warfare to the fore by weaving together a beguiling assortment of graphical notations. A \u201cBOOM\u201d there, a \u201cKA\u201d here and a series of \u201cWa\u201d later, we are left with the perverse thought that war and its weapons can somehow can beautiful.<\/p>\n\n\n\n<p>Something, though, remains to be resolved. This eclectic mix of forms, shapes, and notations look mighty extravagant; yet it is hard, even for someone who knows how to read music, to make sense of it all. And herein lies the paradoxical nature of Young\u2019s notational madness. What if it is not made to translate into actual music? Will its beauty only ever make sense on paper? Young\u2019s \u201cThe reverberation that resembles nothing\u201d (2016), inked on a sheaf of yellow leaflets, is the musical equivalent of W.H. Auden\u2019s \u201cpoetry makes nothing happen.\u201d<\/p>\n\n\n\n<p>It would be presumptuous to think that Young is an anarchist. In fact, that could not be further from the truth. In deconstructing the old, Young is also building the new. While the show might repudiate traditional ideas of the orchestra, this does not make it a rejection of formalist ideas. Instead, the artist\u2019s curious compilation of compositions, suggestions, aphorisms, and graphics borders on the obsessive. In ditching one set of ideals, the artist constructs a language that is uniquely his.<\/p>\n\n\n\n<p>Young once said during an interview, \u201cOnly utopians would take pleasure in building things and institutions and organizing people socially\u2026in making ensembles.\u201d Standing amid the chattering crowd on opening night, one could not help but be sucked into the heady swirl of treble clefs, onomatopoeia and graphical notations that is, perhaps, Young\u2019s version of utopia.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/07\/DSC7149.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/07\/DSC7149-528x351.jpg\" alt=\"\" class=\"wp-image-77261\" \/><\/a><figcaption class=\"wp-element-caption\">\u201cOrchestrations\u201d exhbition view<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"351\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1404.png\" alt=\"\" class=\"wp-image-7404\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1404-300x199.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1404-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1404-451x300.png 451w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1404.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u201cOrchestrations\u201d exhbition view<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"351\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1405.png\" alt=\"\" class=\"wp-image-7407\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1405-300x199.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1405-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1405-451x300.png 451w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1405.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u201cOrchestrations\u201d exhbition view<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Samson Young: \u201cOrchestrations\u201d Para\/Site &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/orchestrations-samson-youngs-version-of-utopia\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":7414,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[149,415,67,102,416,3392,3393,3394,3395,374,393,3396,3397,419,210,460,230,421],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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