Traditionelle und zeitgenössische Motive vermischen sich an diesem Nachmittag mit experimentellen Annäherungen an die chinesische guqin Musik.
Programm:
Teil 1: Tradtionelle guqin mit Jian Yankuan und Wolfgang Schwabe
Teil 2: Musik, Malerei Performance mit Fabian Heubel und Jiang Sanshi
Teil 3: Freie Improvisation, Malerei mit Shiomi Kawaguchi, Yurika Saito und Wolfgang Schwabe.
Abschlussdiskussion eingeleitet von Xia Kejun +Tee & Kaffee
Teilnehmende Musiker und Künstler:
Fabian Heubel (Berlin/Taipei guqin)
JIANG Sanshi (Taipei, Tuschmalerei)
Xia Kejun (Peking, ästhetische Theorie)
Jian Yankuan (Peking, guqin)
Shiomi Kawaguchi (Berlin, Shamisen)
Yurika Saito (Berlin, Tuschmalerei)
Wolfgang Schwabe (Berlin, guqin)
Zu den Musikern/Künstlern:
Fabian HEUBEL arbeitet seit 2001 am Institut für chinesische Literatur und Philosophie der Academia Sinica in Taipei und ist derzeit Gastprofessor für klassische und moderne chinesische Philosophie am philosophischen Institut
JIANG Sanshi hat Philosophie und ostasiatische Kunstgeschichte studiert und arbeitet als Tuschemalerin in Taipei, wo sie auf experimentelle Weise in der Natur an die chinesische Ästhetik der Berg-Wasser-Malerei anknüpft.
Xia Kejun, is a philosopher, art critic and curator born in 1969. He studied at University of Freiburg in Germany and University of Strasbourg in France. He is a Professor in the School of Liberal Arts in Renmin University of China, Beijing. Xia Kejun has published more than a dozen works, around the key concept of “Useless”, Xia tries to let Zhuangzi or Daoism enters into deep dialogues among Heidegger, Benjamin, Kafka, and Derrida, in order to open up the possibility of a cross-cultural philosophical dialogue, and let these concepts: Useless(Wuyong), Chora(Xu) and Remnant (Yu) become the core concepts of contemporary philosophy. In addition, as a very influential critic and curator of contemporary art, Xia has also proposed the concepts of Infra-mince Art, Infra-image and Enchorial-topia, and has curated a series of related important exhibitions in China and Europe.
Jian Yankuan is a qin player of Fanchuan School (泛川派), critic of contemporary art and translator of French philosopher Jean-Luc Nancy, including Le Regard du Portrait and his several Petites Conferences, Sur L’amour, Sur La Justice, Sur Le Dieu.
Shiomi Kawaguchi: Since she was a child growing up in Tokyo, she started learning Shamisen (a Japanese three-stringed instrument) and minyo (Japanese folk songs). In 2017, after years of traveling silk-load with Shamisen, she moved her base to Berlin and worked with many types of musicians/artists.
She is a member of the all-female ‘shamisen trio Mitsune’ http://de.mitsune.de/ psychedelic folk band “Jaguar no me” http://www.jaguarnome.com/
and jazz band ‘The Japs’ https://aandjaps.wixsite.com/sitetop
Yurika Saito
Born and raised in Tokyo, she encountered mountain landscape painting in Canada during her travels, and has been working with nature and art as the theme of her work.
She pursues a wide range of possibilities in painting, embroidery, herb dyeing, and performance with the theme of connecting nature and humans.
https://yurikasaito.de/
Wolfgang Schwabe learnt to play qin with qin master Ge Hancong (葛瀚聰) in Taiwan. After random performances with LTK, a Taiwanese punk band, in the late nineties, he has been regularly performing in Taipei and Berlin playing Echtzeit Musik. In 2018 the CD “180818” with Lin Hui-Chun was released (https://huichunlin.bandcamp.com/album/180818). He is the co-founder of the “International Conference on Guqin, Aesthetics and Humanism” and has published numerous articles on Guqin aesthetics
Perspektiven auf die Guqin Musik