| “生物仿生学和声音的影响一直是我工作的核心主题。” |
SIMULACRA
因种种原因此次展览你未能到达现场，在你的印象里，北京是怎样的一座城市？
Nik Nowak
我们是在疫情期间开始筹备展览，不得不经历封城、旅行和物流的限制。所以很早就决定将在线上推进这个项目,并在北京落地。由于整个团队的勇气和决心，呈现效果出乎意料地好。在2005年我第一次到达了北京，最后一次是2017年，这中间有很多变化。但我猜测相同点是新老之间的分裂，以及年轻一代在这两种极端之间迸发出的无数创造。
Design Blueprint by Nik Nowak, Graphic Design by Danlin Zhang
艺术家的身份确立过程中是否存在某种媒介的限制，或者说身份需要不断确立的（比如：绘画、装置、雕塑等）？
在工作中涉及了很多媒介和不同的安排，我永远不可能只做一件事。虽然在我的实践中，在遵循一个非常具有延续性的思考方法。但这就是我的大脑的工作方式。虽然一种媒介就足以探索生活中的许多话题，但不同的媒介可以帮助我获得对同一问题的多种视角。
ON TRACKS, 行为Performance, featuring She's Drunk, Infinite Livez, Detroit Che, ALI Keys, A.W.A., 2019, ©Nik Nowak
在本次中国的首展中使用了几种不同的媒介，你是如何看待他们之间的关系的？
每种媒体都有自己的独特性。对我而言，创作的核心是声音雕塑。它的运行各部分间高度关联，并使身体和其感官设备直接相关。绘画和拼贴对我来说更像是一种收集和归档。这是一个伴随着推进雕塑声音项目的习惯。影像捕捉了叙事和表演。我总是在这样的架构中工作。
Mobile Sound Systems, 112×254cm, 拼贴Collage, 2013, ©Nik Nowak
Infra / Ultra, , 85.5×105×5.5cm, 拼贴Collage, 2017, ©Nik Nowak
将声音视觉化，在你看来还会有更多的可能性吗？
我其实没有想把声音视觉化。而是去建立一种环境或氛围，在其中感受声音。
声音系统/装置的视觉观感都非常刺激，你觉得这是否削弱了声音的部分，他们的平衡点在哪？
我结合了两件事。一方面是由物体本身的视觉外观引发的联想，另一方面是声音的侵袭，你可以在电影中找到类似的组合。我想我主要对触发集体/个人记忆和创伤的有关联想感兴趣。我创造了这种特殊的声音雕塑，来构想和生成一些我无法通过任何其他方式实现的东西。
DELETHE Anechoic Chamber, 400×346×280cm, 木头、吸音海绵、洞石、 霓虹灯管，金属格栅，高指向性扬声器，音频Wood, acoustic foam, travertine stone, neon tubes, metal grilles, audio beam, sound, 2015, ©Nik Nowak
DELETHE展览现场, 2015, Courtesy ©Nik Nowak and alexander levy, Berlin
从The Mantis到Guo Guo Hawker，为什么再次选择了将生物与声音系统结合，这两件作品间是否有某种同构性？
《Guo Guo Hawker》实际上变形了《The Mantis》(2019)、《Panzer》(2011) 和《Es kommt nicht immer eine Grille geflogen》(2017)。生物仿生学和声音的影响一直是我工作的核心主题。在这个意义上，"Guo Guo Hawker" 是对此种探索的延续。
The Mantis, 装置及行为Installation and performance, featuring Kode9, Infinite Livez, Moritz Stumm, CTM Festival, Halle am Berghain, Berlin, 2019, ©Nik Nowak
展览中Unsound System和蝈蝈发出的声音，观众评论呈现两极分化，一半认为动听，另一半只觉刺耳，你如何看待这件事？
我可以理解人们觉得很刺耳。在这两件作品中，其实是一种对另一个世界的声音的体验。Unsound System使实际上感受不到的红外和超声波变得可以感知，而Guo Guo Hawker则放大了昆虫的声音。在这两个声波场域中，我们都是外星人。
笼中的蝈蝈 Guoguo in the cage of Guo Guo Hawker, 2023/Photo: 元元Henry
展览过程也经历了疫情最严重的时期，全球化似乎也在解离，这与你的研究方向或作品是否有某种契合？
我的研究和工作的很大一部分涉及到使用声音进行宣发和处理。像《Schizo Sonics》(2021) 或《The Mantis》(2019) 这样的装置，专门处理冷战和两德统一的声音课题。我看到大量相同或更好的说法是目前创作中的这种延续，近似与冷战时期冰冷冲突的回响。
Schizo Sonics, 声音装置Sound installation 两件声音雕塑、围栏系统、狐狸标本、反坦克拒马Two sound sculptures, fence system, taxidermied fox, anti-tank barriers, 2020, ©Nik Nowak
推荐一位你喜欢的电子音乐人/团体吧！
33EMYBW和Gabber Modus Operandi。总的来说，SVBCVLT这个厂牌有很多可以继续深挖下去的点。
尼克·诺瓦克在中国 Photo of artist in China, 2008, ©Nik Nowak
For many reasons you were not able to be present at this exhibition, could you talk about your impressions of what Beijing is like as a city?
Yes, we started the preparations for the exhibition in the midst of the Corona crisis and had to deal with Lockdowns, treval restrictions and logistical problems. We decided early on that we are going to develop the project virtually and built everything in Bejing. It worked out surprisingly well because of the courage of the whole team. First time I was in Bejing in 2005 and the last time in 2017. Much has changed in between. But what I guess is the same is the splits between the old and the new and the young generation that is triggering a lot of innovation between the both poles.
Crossing Shanghai, 墙绘Wall drawing, 2008, ©Nik Nowak
Is there a limitation in the process of establishing an artist's identity, or in your opinion identity needs to be constantly established (e.g.painting, installation, sculpture, etc.)？
I work in many mediums and formats. I could never do only one thing. Although in my practice I follow a very continuous line of thoughts. That's how my brain works. While one medium can be enough to explore many topics of life, dicers media can help to get multiple perspectives on one question.
Cocoons, each 120×52×60cm, 两件吊挂扩音器、玻璃纤维、木头、油漆、扬声器底盘、高音喇叭、音频Two pendant speakers, Fiberglass, wood, paint, loudspeaker chassis, tweeter horns, sound, 2010, ©Nik Nowak
How do you see the relationship between the several different media used in this exhibition in China?
Each medium has its own quality. Central for me is the sound sculpture. It works on a highly associative level and is in direct relation to the body and it's apparatus of senses. Paintings and collages work in a sense of collecting and archiving for me. It's a practice that always accompanied the development of sculptural sound projects. Video captures narrative and performance. I always worked in constructions like that.
Dubplate 2, 203.5×203.5×5cm, 纤维板漆艺Lacqeur on MDF, 2014, ©Nik Nowak
Would visualising sound be any more possible in your opinion?
I think I m actually not visualising sound. I build environments in which to experience sound.
The sound system/installation are visually very stimulating, do you think this diminishes the sound component and where do they balance out?
I combine two things. On the one hand associations triggered by the visual appearance of the object and on the other the affect of sound. You find a similar combination in Film. I think I'm mainly interested in triggering associations that are connected to collective and individual memories and trauma. I developed this particular kind of sound sculptures to formulate and generate something that I couldn't do in any other way.
Infra / Ultra, 尺寸可变Size variabel, 综合媒介装置Mixed-Media installation, Installationview alexander levy, Berlin, 2017, ©Nik Nowak
From “The Mantis” to “Guo Guo Hawker”, why did you choose to combine the biological and sound systems again, and is there some kind of homogeneity between the two works?
The Guo Guo Hawker actually morphs the Mantis(2019), Panzer (2011)and Es kommt nicht immer eine Grille geflogen (2017). Biomimicry and the affect of sound were always central motives to my work. The Guo Guo Hawker is in this sense a continuation of the same exploration.
The Mantis, 尺寸可变Size avaliable, 收藏级微喷Archival pigment print, 2019, ©Nik Nowak
How do you feel about the polarisation of the audience's comments on the sound made by the “Unsound System” and guoguo in the exhibition, with half of them finding it melodious and the other half just finding it harsh?
I understand that people find it harsh. In both works its an experience of otherworldly sounds. The unsound system makes actually inaudible sounds from the infra and ultrasonic frequency spectrums audible and the Guo Guo Hawker amplifies the sound of insects. In both sonic spheres we are the aliens.
Unsound System, 46×109×93cm, 钢铁、玻璃纤维、声音科技产品、漆艺、综合媒介、音频 Steel, fiberglass, sound technology, lacquer, mixed media, sound, 2018, ©Nik Nowak
The exhibition process also went through the worst period of covid, and globalisation seems to be dissociating again, does this fit in some way with your research direction or works?
A large part of my research and work deals a with the use of sound for propaganda and manipulation. Installations like Schizo Sonics (2021) or the Mantis (2019) where specifically addressing the sound politics of the Cold War and the devision of Germany. I see a lot of repetition or better said continuation in the present invents almost like a reverberation from the icy conflicts of the Cold War.
Sackkarre / Chinatagebuch, 120×106×145cm, 迷你摩托车、独轮车、汽车电池、扬声器、随身听、磁带、头盔、手套、音频 Mini motorcycle, dolly, car battery, loudspeakers, walkman, cassettes, helmet, gloves, sound, 2010, ©Nik Nowak
Recommend an electronic musician/group that you like!
33EMYBW and Gabber Modus Operandi. The label SVBCVLT in general offers a lot to explore.
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