At the Taiwan pavilion, artists' Hong-Kai Wang and Yi-Hsien Su created soundscapes that transformed the way I look at how sound can be used in installation work. Hong-Kai Wang's work especially connected with my attempts to use sound to comment on Mumbai's atmosphere and culture. She says,
'By constructing an "architectural music-space...made possible by the microphone," Music While We Work explores how artistic practice can intervene in the social space of labor production at the intersection of history and everyday life.'
Hong-Kai WANG. Music While We Work. Huwei, Yunlin, Taiwan. 2011. Audio and video installation. Video still by Yann Tonnar. Courtesy Hong-Kai WANG.Taiwan pavilion at Venice Biennale 2011. [Press Release].
Music While We Work by Hong-Kai Wang. (2011). Installation photo by Aditi Kulkarni. Taiwan pavilion at Venice Biennale 2011.
In addition to these two artists the sound bar had a wide variety of independent music and sound compositions from Taiwan to sample and enjoy.
Sound Library Bar design by Kuo-Chang Liu. Taiwan Pavilion. Venice Biennale 2011. [Press Release].
Sound bar library at Taiwan pavilion. Photo by Aditi Kulkarni. Venice Biennale 2011.
'I think the most important and uninvestigated architectural music-space of our time is the imaginary space made possible by the microphone...a space that does not exist in any form in any place in the everyday world.' (Ashley,r. 2009 cited in Hong-Kai Wang, 2011. p.17)
In her artist statement Hong Kai Wang quotes American avante-garde composer Robert Ashley, and I found these lines especially relevant. My aim is to transport the audience to Mumbai, my hometown and I agree that this relation between sound and essence of place, though immensely powerful is often ignored.