label site:
web.comhem.se/elggren/fer/fer.html
this is a work with no title. i.e. it’s not a work entitled “untitled” but a work stands on its own. once Marcel Duchamp said title is invisible color. for me be with no title is using invisible canvas. of course you are free to point it by any name or pronoun, anyway. i assume there is a body that concept could returns to. where language speaks itself.
conceived and realized in winter 2016.
thanx: Wang Chunyi, Ruiqi (Chaojixingsheng, Suzhou), aaron Ghantus (Klang Schneider, Berlin), Eric Mattson, DaaD and adam audio (Berlin).
这是一件没有标题的作品。也就是说，不是一件以“无题”为标题的作品，而是一件作品，就它自己。
马赛尔·杜尚有一次说，标题是无形的色彩。对我来说，没有标题就是无形的画布。
当然，你可以随便用一个名字或者代词来指称它。
我假设有一个身体，可以让概念返回。在那里语言自己说话。
构思和完成于2016年冬天。
感谢：王纯怡、瑞奇（超级星声，苏州）、阿吽·甘图斯（声音裁缝，柏林）、埃里克·马森、DAAD、亚当音箱（柏林）。
review:
Having just discussed the work of Yan Jun playing in collaboration with Tim Olive, two days later I receive a work from him released by Firework, all by himself. To quote the text on the cover: "this is a work with no title. i.e. it’s not a work entitled “untitled” but a work stands on its own. once Marcel
Duchamp said title is invisible colour. for me be with no title is using invisible canvas. of course you are free to point it by any name or pronoun, anyway. i assume there is a body that concept could returns to. where language speaks itself”. (He’s not a man to use capitals it seems) The music (fifty-four minutes) is one piece and besides that, it was "conceived and realized in winter 2016" there is no additional information. I checked the volume setting before hitting play, expecting some feedback, line hum, static crackles and noise but quickly had to turn up the volume quite a bit to gather what was going on here. Just what that is I am still not sure of. At first it sounded like someone being asleep (not unlike label boss Leif Elggren as already demonstrated on a previous release), recorded from very close up the mouth/nose area, but then slowly the sound shifted towards what could very well the sound of the sea, or a drawer being pushed across the floor, along with some odd short click like sound, like the slowed down ice cube in a
glass). At one point I started to believe it was very likely all of these sound elements played together in a strange way that there is no overlap or repetition, but at the same time, it seems
that these sounds are pretty much the same, or maybe there are minor changes? That too was something very hard to work out about this work. Should I not have to think about it, and simply
enjoying the music, which of course is the thing I should be doing, I thought this was a strong, compelling and strange release. I very much enjoyed the way it sounded, in all its changing minimalist conceptual approach. Every time I played I thought I heard something else, and every time I thought I heard the same thing. That probably sounds odd, and it is. But then this is a very odd release indeed. It is strange and great. Whatever it is about, or not. (FdW)
vital weekly:
www.vitalweekly.net/1171.html
评论：
刚聊过颜峻和提姆·奥利弗的合作作品，两天后，我又收到他在焰火厂牌出的个人作品。封套文字如下：
“这是一件没有标题的作品。也就是说，不是一件以“无题”为标题的作品，而是一件作品，就它自己。
马赛尔·杜尚有一次说，标题是无形的色彩。对我来说，没有标题就是无形的画布。
当然，你可以随便用一个名字或者代词来指称它。
我假设有一个身体，可以让概念返回。在那里语言自己说话。”
音乐（45分钟）是一整首曲子，此外，“构思和完成于2016年冬天。”没有别的信息了。播放之前，我检查了一下音量，准备好要听到一些反馈、持续的嗡音、静态杂音和噪音，然而很快就不得不把音量开大，好搞清楚是怎么回事。也就是说我到现在也还不大确定的这件事。一开始像是有人在睡觉（就像是厂牌老板雷夫·埃尔格伦在一个之前的作品中做过的），是在非常靠近嘴巴、鼻子的区域收音的，但慢慢地，声音变得像是海的声音，或者一个抽屉被推过地面，还有一些偶然出现的咔哒声，像是杯子里转动然后静止的冰块。在某种程度上我开始相信，所有这些元素是一起演奏的，然而是用一种奇怪的方式，也就是说既没有后期叠加也没有重复。但是同时，这些声音又很像是一样的，又或许有一点点的差别？这是件很难搞明白的事情。我还是别想了，简单地享受音乐好了，这当然是我应该做的。我想，这是个强有力的、引人入胜的以及奇怪的作品。我非常享受它所传达的方式，那种变化的极简主义概念性的方式。每次播放我都觉得听到了别的东西，每次我都觉得听到了同样的东西。可能听起来有点怪，但是就是这样。但是这的确是一个非常怪的作品。它奇怪而且了不起。不管它是关于什么的，或者不关于什么的。（弗兰斯·德·瓦尔）
原载 vital weekly:
www.vitalweekly.net/1171.html
released December 20, 2018
