mafmadmaf's work
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        2021 年 mafmadmaf 於中國江西景德鎮寒溪村進行藝術駐地，他前後共計在村里居住約 30 天，期間進行田野錄音、裝置安裝，也參與到村民的日常生活中，比如到村民家和他們一起吃晚飯，參加村子的結婚喜宴流水席，也無意中發現村民裡的基督信徒和附近一個用作禮拜的村屋。深度的駐留體驗，他收穫了大量的錄音素材和創作材料，亦開始著眼於村落的平淡日常。
他嘗試改造日常物品，讓聲音從看起來並非擴聲器的物品中發出。垂至近乎地板的線，看起來是否像琴弦？如果張力足夠，它們或許真的可以彈奏。燈罩內發聲單元的離地高度經過測試，太低則聲音被困而發悶、能量過大引起燈罩共振；位置過高，聲音會過分擴散、彼此容易混淆。最終確定的這個高度可以適當地對聲音產生壓縮效果，讓每個單元即使在有限音量的情況下，發聲更飽滿。
變量一
此房間中同時播放 7 段聲音，每盞「燈」為單一的音源，因此可以看作是 7 個聲部所構成的合奏 ——一種以田野錄音為聲部的特殊編曲方式，也可以稱之為聲景構圖。聆聽者在房間中游走或隨處停留，都將和各個音源的相對空間位置發生變化，聲景構圖也相應變化。
變量二
可安裝發聲單元的位置數目為 7 個，而聲音素材庫數目則有 12 個。因此，通過抽取選取不同音源和位置的替換，最終可以獲得多種的聲音組合方式。每次替換將交由點位的維護人員按照彼時的意願和心態進行選擇，或許對工作人員來說也可以視為某種組合遊戲。無論聲音組合、位置皆無預設，皆可任意排列。將多種發生於不同時間、不同空間的聲音，放置在同一個時空被收聽，構成一個屬於當下的聲景。
此後，作品在 2022 至 2024 年間，以不同吊燈數量的組合在玉林、澳門和深圳展出。在不同城市，作品裡的田野錄音會被替換，以展覽所在的城市為樣本。
        In 2021, mafmadmaf undertook an artist residency in Hanxi Village, Jingdezhen, Jiangxi Province, living in the village for about 30 days. During this time, he carried out field recordings, installed sound objects, and immersed himself in the everyday rhythms of local life — sharing dinners with villagers, attending wedding banquets, and even encountering a small community of Christian believers gathering in a village house for worship. This close engagement with village life provided him with abundant sonic material and inspiration, while also drawing his attention to the subtleties of ordinary daily existence.
His experiments centered on transforming familiar objects into vessels of sound, allowing voices to emerge from items not normally perceived as loudspeakers. Wires suspended almost to the floor suggested the appearance of strings — potentially playable if pulled taut. The placement of sound units inside lampshades was carefully tested: too low, and the sound was muffled or caused resonance; too high, and the diffusion became excessive. The final chosen height produced a natural compression effect, creating a fuller presence even at limited volume.
Variable I
Seven lamps functioned as independent sound sources, together forming a seven-part ensemble. Each lamp projected a strand of field recording, creating what might be described as a “soundscape composition.” As listeners moved through the room, their shifting spatial relationships to the sources continually altered the perceived soundscape.
Variable II
While seven sound units could be installed, the sound library contained twelve recordings. This allowed for multiple possible combinations: each installation could be reconfigured by the on-site staff according to their own inclinations, turning the process into a kind of game. No arrangement was fixed — sounds from different times and places coexisted within a shared present moment.
Between 2022 and 2024, the work was exhibited in Yulin, Macao, and Shenzhen, with variations in the number of lamps and the substitution of local field recordings specific to each city.
下列是不同的變體展出
Exhibited in variable forms: ⌃ 澳門 Macau ⌃ 玉林 Yulin ⌃ 深圳 Shenzhen ↩︎ back to index