真皿 / True Mean

- ⼆零二四
- 个人展览
- 绘画
- 45 分钟《真皿》音乐装置，歌剧人声
- 地点：知美术馆，成都，中国

- 2024
- Solo Exhibition
- Painting
- 45 mins <True Mean> Music Installation, Live Operatic voice
- Location: Zhi Art Museum, Chengdu, China

《真皿 - True mean》音乐源自熊晏一知美术馆的个人展览，
知美术馆坐落于成都新津老君山千年佛道圣地，由日本建筑大师隈研吾设计，在这自然与人文深度交融的场域中，
熊晏一展开了 跨越时空与感知的对话。


展览以三幅九米纵轴的容器绘画作品作为视觉导引，
通过十二组隐匿式立体音响装置暗嵌于建筑结构中，形成环绕式声网，构造出多维的声学体感。
晏一以四十五分钟的录音室制作及现场即兴歌剧演唱作为开端，
将观众作为行为艺术的核心主导，接引大家进入到“听之以心，遇之以神”的太空舱内，
此刻的知美术馆如同一艘航母，承载着未知由此起航。


此项目的音乐谱曲结构由熊晏一的歌剧演唱、录音室制作、钢琴即兴演奏、
合成器演奏（包括MatrixBrute、Bastl Casper、softPop、Moog Subsequent 25和Solar 42）、复刻编钟演奏、即兴现场录制，
以及跨地区生态声景采集构成（地点分别为：西藏自治区冷古寺、三星堆复刻楚国编钟

基地、青城山古观音寺，以及知美术馆内外建筑瓦片及噪音的采集）。
艺术家在音乐谱写的编排中隐含了“视听虚拟反转”的概念：
用电子合成器模拟山泉鸟鸣，将自然界采集的自然声源置换为电子数字音源，
还原我们在感知经验中对声音边界的认知及探索。
这一独特的音乐特性并非简单的在音乐表现中，而是结构严谨的镶嵌在和声结构及复调曲式的变化叠加中，每一个乐章的连贯性与整体既展现
了宏大的叙事格局，又不失细腻的情感描绘。
亲临现场的观众在这空灵的自然人造声学边界中被悬置，
仿佛在时空的内部制造了一种非时间性的存在，与之并行却又脱离在一个个刹那中，
穿梭于各自不同的心境，从物理空间到精神空间又回归至心灵空间。


当硕大的美术馆如航母般传来一阵阵的乐音波长与声码，古老地域的频率共振着建筑外立面飘荡的青瓦，
仿佛这一刻就如晏一画作中悬浮的“空”之容器——它们矗立于佛道文明结晶的长河中，
以“知”、“空”、“真”三昧为舟楫，唤醒本就存在于我们自性法海中的圆满觉性，
并以最至诚的敬意献上这份对古圣先贤最高的顶礼。





《True Mean》: An Exhibition Overview

The music of True Mean originated from Xiong Yanyi’s solo exhibition at the
Zhi Art Museum, located within Laojunshan in Xinjin, Chengdu—an ancient site with deep roots in both Buddhist and Taoist traditions.
Designed by renowned Japanese architect Kengo Kuma, the museum is a thoughtful blend of nature and culture,
offering an ideal setting for Yanyi’s dialogue—
one that moves beyond conventional boundaries of time, space, and perception.


At the centre of the exhibition stood three monumental, nine-metre-high vertical axis paintings. Surrounding them,
twelve concealed stereo audio installations were integrated into the museum’s architectural structure,
creating an immersive surround sound network.
This acoustic environment drew visitors into a multidimensional listening experience.
Yanyi began the work with a 45-minute studio recording,
combined with
live, improvised operatic vocals, placing the audience at the core of the performance.
She described it as a
“capsule of listening with the heart and encountering with the spirit.”
In that moment, the museum became more than a gallery—it transformed into an aircraft carrier,
setting off on a journey into the unknown.


The musical composition was a layered combination of sound elements: Yanyi’s a cappella opera vocals,
live studio improvisations, various modular and analogue synthesisers (including MatrixBrute, Bastl Casper, softPop, Moog Subsequent 25, and Solar 42),
piano improvisations, and ensembles of ancient Chinese chime bells.
The soundscape also incorporated field recordings from locations such as Lenggu Monastery in Tibet,
the reconstructed Chu Dynasty bell pavilion at the Sanxingdui Site Base,
Gu Guanyin Temple on Qingcheng Mountain, and the Zhi Museum itself—capturing the textures of its tiles, ambient noises, and reverberations.


At the heart of the composition was Yanyi’s concept of “audiovisual virtual inversion”:
using synthesisers to emulate the sounds of nature, and converting natural sounds into digital formats.
This approach challenged traditional boundaries between natural and artificial sound.
It was not just a stylistic device, but embedded into
the harmonic and polyphonic structures of the music. Each section was carefully developed, balancing narrative
coherence with emotional nuance.


Visitors found themselves in a space between the organic and the constructed,
as though suspended in a moment outside of time.
The work encouraged a movement—not just through physical space, but through
internal, emotional, and spiritual states—before returning to a place of inner stillness.


As the museum took on the metaphor of an airborne vessel,
the ancient frequencies of the surrounding landscape began to resonate with the digital sound codes within the installation.
This created a sensation of suspension,
similar to the “empty” vessels portrayed in Yanyi’s paintings, where sound hung in the air like dust in light.
These suspended tones referenced core Chinese philosophical ideas of
“knowingness,”“truth,” and “emptiness,” offering a reflection on the interplay between history and modernity,
nature and technology, form and absence - the very essence of the cultural synthesis between Buddhism and Taoism
at the heart of the exhibition.