7月26日開催

 

 

韓国・ソウルを拠点に新世代エレクトロニックミュージック・シーンを牽引するミュージシャン/DJのbela、オーガナイザー/DJのyuyungsik、サウンドアーティスト/ノベリストのJiyoung Wiの3人がキュレーションを担当している「Sorrow Club」がオンライン・フェスティバル「Requiem for Self-Isolation」を開催。

 

「Sorrow Club」は新しい世代のリスニング環境を目指し、世界中のアジア人、女性、クィアのミュージシャンの声を集めていくことが目的である。今回の「Requiem for Self-Isolation」では、2日間のストリーミングを予定しており、先日のソウルを拠点にするアーティストにフォーカスした1日目に続き、7月26日に開催される2回目のイベントの詳細が発表。今回は海外のミュージシャンと韓国のビジュアルアーティストにフォーカスし、YouTube LiveとTwitchで同時に配信し、「サウンドステージ」と「ビジュアルステージ」に分かれて展開する。

 

イベントへはRSVP GoogleフォームとPayPalで入場料金を振込ことでアクセス可能となる。プライベートストリーミングのリンクは、フォームに記載したメールアドレスに送られる。

 

 

2nd Event ㅣ 26th July (Sun), YouTube Live and Twitch, KST 15:00~18:40

RSVP ㅣ https://forms.gle/yxLLJte3seY5DFGa7

Minimum Donation: 1400 JPY/13 USD/12 EUR

 

International Donation Link www.paypal.me/sorrowclub

 

Sound Stage (YouTube Live)

 

Ana Roxanne

Tomoko Sauvage

Felisha Ledesma

RUI HO

Itsï

Lucy Liyou

Jorengthericecake

 

Visual Stage (Twitch)

 

Boma Pak

Jihyoung Han

Muyeong Kim

Yunhwa Yang

 

*Time Zones – 24hr

SUN 15:00~18:40 Korea/Japan

SUN 14:00~17:40 China/Singapore

SUN 13:00~16:40 Thailand

SUN 11:30~15:10 India

SUN 10:00~13:40 MSK (Moscow, Russia)

SUN 06:00~09:40 GMT

SUN 03:00~06:40 BRT (Brasilia, Brazil)

SUN 02:00~05:40 Eastern Time US

SAT 23:00~02:40 Pacific Time US

SAT 20:00~11:40 Hawaii US

SUN 16:00~19:40 AEST (Australia East)

 

Sorrow Club Official Instagram: instagram.com/sorrowclubseoul

 

 

Ana Roxanne

Ana Roxanne is an intersex artist born and raised in the Bay Area. Primarily a vocalist, with a background in Jazz and choral music, she writes pieces exploring themes of devotion, spirituality, and worship of R&B/pop divas. (Photo by Tammy Nguyen @tnpain)

 

 

Tomoko Sauvage

Over the past decade, Tomoko Sauvage (JP/FR) has been working on “natural synthesizer” of her invention ― waterbowls ― combining water, ceramics and hydrophones (underwater microphones). Porcelain bowls, water drops, waves and bubbles as well as hydrophonic feedback and electronics are the main ingredients of her instrument that generates the sculptural and fluid timbre. Through primordial elements augmented by technology, enlivened by ritualistic yet playful gestures, Sauvage’s work contemplates, tunes and connects both the material and the immaterial in keeping a fragile balance between hazard and mastery. (Photo by Leo Lopez)

 

 

Felisha Ledesma

Felisha Ledesma is a sound artist, organizer, and educator currently floating along the west coast of the US.

 

 

RUI HO

The Berlin-based Chinese producer, composer RUI HO makes electronic music that bridges the modern club music landscape with traditional Chinese sounds. RUI HO infuses Chinese melodies of her hometown into compositions and productions, while drawing inspiration from everything from Grime, rave and Reggaeton, to top 40 hits, to Japanese anime and gaming soundtracks. RUI HO belongs to a new generation of electronic musicians whose musical experiences stem largely from the internet: a perspective that speaks to up-and-coming club-going audiences. (Photo & Styling by Dre Romero @apieceofpinkvelvet)

 

 

Itsï

Chicago-based artist Itsï’s sound is marked by morose synth work and bloated drones that rise and quickly relinquish to a quiet nausea. It is often borne of dreams or stories she has conjured while enduring the mundanity of daily living ― not as an escape, but as an attempt to see the truth and value of what thrives in the subconscious.

 

 

Lucy Liyou

Philadelphia-based artist Lucy Liyou synthesizes field recordings, text-to-speech readings, poetry, and elements from Korean folk opera into sonic narratives that explore the implications of Orientalism and Westernization. Though their music reflects the work of genres such as post-industrial and musique-concrète, Lucy Liyou is greatly influenced by audiobooks as well as music from the Impressionist period and Neoclassical period. Lucy Liyou’s debut project A Hope I Had, which caught the attention of South London based artist Klein, was a sonic examination of hereditary depression in Asian families. Their following project Welfare, which was released in March through Klein’s label ijn inc., is an ambitious analysis of the colonialist concept of self-care. Most recently, they premiered their new project, Hey Jackie, at the 2020 Avantwhatever Festival in July.

 

 

Jorengthericecake

Jorengthericecake is a sound designer and a writer criticizing new media art, currently based in Cologne, Germany. It/She’s been making soundtracks for contemporary dancing, film, and installation since 2016, performing sound collage-ambient on the stage and contemplating the discourse of sustainable music scene for experimental and club music.

 

 

Boma Pak

b.1988 (Seoul, Korea) bomaq@naver.com

Pak’s work explores and deliberates the desire to own light, moment, and sense. She finds the ways of existence curious, for things shoved away from the conditions surrounding the exchange values of material — Western, masculinity etc. Pak works in identities, separately and together, like fldjf studio, reflecting the concept of ‘reflector’, and WTM deco & boma, focused on handwork. Currently invested in implementing the body of the corporation “Sophie Etulips Xlyang” since the solo exhibition 《Beige men Vase & Smoking Free(CAVA LIFE, Seoul, 2020)》. An edited version of ‘nude reflection: The Aged Room Service’ from <purple neon(+)~nude reflection(-)~white ray(+)>, previously played at 《Video Relay Taansan》, will be showcased at the Visual Stage of Sorrow Club Online Festival.

 

 

Jihyoung Han

Curious about the possibility of ever more flexibly mutating body, Jihyoung Han builds a model of future with painting. Creates an abstract of the body with imaginations of the face, people, and identity to come. Explores the identities of informal life forms: of androids and artificial creatures.

 

 

Muyeong Kim

“The textual script of the exhibition addresses questions that arise when a collective memory is to be preserved for an unimaginable length of time. When relatively simple information, like the dangers surrounding nuclear waste, are passed on to a vastly remote future, what are the impending misinterpretations? The recited text incorporates myth, web news, pop songs, poems, scientific reportage, and legends into a confusing whole, the way airport monitors align a number of unrelated cities according to the minor condition of a departure time. Supposing our language will be obscured—indecipherable to future interpreters—what will remain of its original meaning and intention?”

excerpt from exhibition statement 《DNA, L, IM NO, ILL TILL, DAER T》, Nils Ekman, Muyeong Kim, 1~24 February 2019, Malmö, Sweden

 

 

Yunhwa Yang

Based in Seoul, majored in the plastic arts. Works on performance, video, and sound with interest in the motion of body, word, text, and entangled time.