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Bio / CV
Contact



Art Project Live Performance

Vibrator Love of Sound V.L.S.S 10, V.L.S.S 9,
V.L.S.S 8,
V.L.S.S 7, 
V.L.S.S 6, 
V.L.S.S 5,
V.L.S.S 4, 
V.L.S.S 3, 
V.L.S.S 2, 
V.L.S.S 1,
V.L.S.S 0, 
  • Dream phantom
  • Black Star 
  • Guerrilla juice bar
  • National Anthem
  • Action Vacation
  • Fancy delivery gay 
  • The ecstasy of national anthem
  • Feminine Sound

Art Project
Group Exhabition


  • The “Vibrator Love of Sound” series 2012~2014
I am in the rear room Ohne mich


Curate Project


Bibliography


LiveSet / Event

  • Odd Sound Festival 2017
  • High Glass and High Class(h)
  • FreeTekno
  • Adult game club
  • Pokerman go
  • Sara Kane 4:48 rave theatre
  • Capitalism is a romantic liar
  • 色々

Sound/ Music Design
  • New Paradise of Silent Island
  • 2017 Parallaxpromo
  • Love Exposure 
  • Eugene Ionesco
  • Staggering Matter
  • I Love Nuclear album

VA
Release






Index︎

聲 的 跳 愛  10  

Vibrator love of sound 10 - No future


2017, Sound Performance, Live Art, Live sculpture
Laptop, mixer, Contact Mic, microphone
plastic vibrating eggs, batteries, Mexico aboriginal people handcraft materials: earth jar, Broken skull, decoration mirror, succulent plants, pazmaker magazine : no future poet.

 
Vernacular Institute event - 
Fri 15 Sep 2017

Group show

Mabe Fratti(Guatemala)
Betty Apple (Taiwan)
DJ Pablo Escalón(Colombia)& VJ Mauricio Arroyo aka Womb(Mexico)



Photo courtesy of  Vernacular Institute



概 念 Concept:


Theatre installation
在墨西哥購買的當地原住民手工紀念品與藝品與多肉植物,以模仿墨西哥城著名的「人類學博物館」內介紹歷史的方式裝置現場。

Photo courtesy of  Vernacular Institute




物件象徵:

在墨西哥Oaxaca與CDMX 在當地原住民的手工藝產業尋找代表「土地」的材料。以「工業時代」以前流傳的古老智慧對比速成的工廠塑膠跳蛋。


Photo courtesy of  Vernacular Institute

2.現 場 表 演 :  

身體夾帶著跳蛋,碰撞現場物件與參與者,即興進行挪動破壞裝置物件。我念著 Perros Negros 雜誌的詩集:「No future」,以吶喊尖叫呈現古老靈魂的實體化。
文本: 3 章 節


Performance Chapter 1
Still documentary  
Courtesy of Betty Apple










Performance Chapter 2







Performance Chapter  3







3.表演結束,現場呈現被行為竄寫後的機器與手工藝物件的身體軌跡雕塑。







This project is in

 THERE AFTER HERE: PERFORMING A VERB

#2    a verb between Yin and Yang

Courtesy of Betty Apple



Black and white, water (transformation) and fire (creativity), earth and heaven, moon and sun, passive and active, feminine and masculine, sound and vision. Through the harmonious balancing of opposites, the concept of Yin and Yang considers universal existence as an inseparable and contradictory double-face to achieve its own balance. Yin and Yang is not meant to be perfect but meant to be whole. Departing from Taoism philosophy, a verb between Yin and Yang rethinks how ideology distorts the space of interpretation and how post-industrial society constructs normative perception in the everyday.
If Yang refers to symbolic stereotypes and order then Yin applies itself to an invisible chaos that runs beneath the surface. By presenting a site-specific sound installation, following a collaborative performance, and taking part in a participatory action, the core of this event turns on opening the Yin as a means to balance our predominantly Yang-infused life.


*The pronunciation of Yin in Chinese is the same as feminine.  (organize/ translate by Jo-ying Peng)


陰性聲音是我的作品中一直在處理的藝術美學。陰性並非性別,而是採納道家的陰陽學說,探討宇宙需要的存在的循環,白天與夜晚,正與負,生(性)與死,鬧與靜,視覺與視覺之外,語言與聲響

人類擅常以機器追求速成高潮去萃取慾望,為求速度而暫停思考生命存在的本質。這就是陽盛陰衰的世界,人們不再休息。然而跑得再快,慾望無窮,生命卻總有限,而死亡會讓所有的追求靜止。

從失聲祭的聲音三部曲,到當代情色物件跳蛋作為媒介的聲的跳愛,或是以複雜猥褻的文本去重譯意識形態的國歌,我用聲音與身體探討後科技社會,我早已被消費商品的拜物情節訓練成陽性思維:追求高效率、高標準、高品質、高精準的價值運作,然而壓抑了不可見、未知、非模組、不可預測的陰性混沌生命,陰性聲音的創作以即興方式表演,透過限地製作,解構物件原本的象徵,並使表演者(我)不再有標準表演,讓表演失去娛樂的陽性價值,展現生命不可以演說的陰性魅力。(Betty 2017)












bettyapple 2018ˉ