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  • Writer's pictureZelene Schlosberg

Performance Dialogue between Andrew Nogal and Zelene Jiang Schlosberg

The visual artist Zelene Jiang Schlosberg in a dialogue performance with the oboist Andrew Nogal, and a conversation about the project. A special event on the occasion of Schlosberg's solo exhibition with WOLDT Gallery, London, 16 June - 19 July 2021. Part of the Kensington and Chelsea Art Week 2021. The video is premiered on 24 June 2021, 7pm for the opening night at the KCAW.

Zelene Jiang Schlosberg: Hi Andrew, thank you so much for your improvisation. I really loved it! So I got to know you because you did a series of improvisations last year during the peak of Covid, and I really loved those. You are also a renowned musician in the new music world. So, can you tell me how does improvisation play a part in new music?

Andrew Nogal: Sure! Zelene, thanks so much for having me as part of this project. It's been such a pleasure to get to know you and your artwork and to try to come up with musical ideas that reflect on it in some way or relate to it. Improvisation in new music is an important tool in our tool kit as musicians,

because improvisation pushes us to think about different textures, colors, sounds and pitches and to really think imaginatively about how we play our instruments, and so that kind of lends itself to all of the experimental techniques that I play in new music. Whenever a composer comes up with an idea of “this should sound like a bird freezing in a tree” or something, I need to have an idea of how to make that happen on my instrument. So, I love improvising and coming up with something new and spontaneous right on the spot and thinking about how to play my instrument in a way that evokes

different colors and textures and sounds that you might not expect to come from an oboe.

Zelene Jiang Schlosberg: Yes! So I think you feel the image, feel the color in your music.

You have a degree in art history as well as your education in music, so when you play and respond to my artworks, is it purely intuitive or does your background in art history and contemporary culture play

a part?

Andrew Nogal: That's a really good question! I think it's some of both. There's an intuitive way of looking at art and thinking, for instance, “is this piece more hushed or more vibrant and more aggressive?”, and that that might be the kind of first entryway into a piece for me when I was looking at your artwork. But then secondarily, I was thinking about what materials did you use to produce this piece and how might I reflect that in my playing. What sounds can I make that are cottony soft or

how can I make a field of polka dots or a field of bubbles kind of sound on the oboe, and so I was also thinking about materiality and the artist's hand in the work what you had to do to cut. is it vinyl that you use ?

Zelene Jiang Schlosberg: Yes, I definitely use a lot of cutting, use a lot of stacking, putting things together…

Andrew Nogal: Yes, so I was thinking about stacking, cutting, layering, like what can I do as a musician to sort of reveal a hidden layer beneath the front which is something that your art does so beautifully. So, I guess I was thinking about modernism being this move toward artists using non-traditional materials and, kind of the artist's core reality, your body being part of the art, is a direct relationship with my body being a part of the music that I play. The oboe is really an extension of my lungs when I play music so that's where I've always gotten really excited about the art and music worlds colliding.

Zelene Jiang Schlosberg: I love it! I really love the comments about your movements, your emotions when you play, the gestures you have. For me, for my art, I also put the emotions, the gestures and the movement into my art such as when I am cutting, I do feel the motion of myself. I put the motion to it…when I'm cutting, I feel the lines jumping, dancing, flying, escaping to all sorts of things. So I think art and music definitely support each other. Before our previous conversations, we purposely did not talk much about my art, so that it could be purely spontaneous for this performance. So, what are your thoughts about my art?

Andrew Nogal: Well, the four pieces that I responded to today were all really different so I wanted to give them different kinds of sound characters. The first one was “Ligament” and I wanted to produce a kind of a line with interruptions. So I had some ideas of little gestures that could sort of pop out the way your figures and your colors pop out of the art work and out of the frame, literally. So in that one, I tried to think very horizontally and I didn't do a lot of jumping around up and down because I thought a ligament is like a long anatomical piece, and I wanted the music to reflect that sense of being drawn out and tightened.

For the second work I did, “Four Seasons,” it was the most muted palette. It was all kind of white and off-white and I thought that was really interesting, because you might look at it and think “oh that's only winter!” but you had all four seasons there, so I sort of started in this wintry mode, of playing really airy sounds that are mostly breath, and then I added pitch to that and i thought about the kind of cyclical idea of the four seasons and everything being kind of a growth out of winter, that time of loyalty and faith and optimism, which is how I see winter. So I kind of gently elaborated on that initial idea of just a few pitches with air, but I wanted to also create kind of a sense of a circle in that improvisation.

Then, in “Tendon,” the third one, I was thinking that, actually, it struck me as the most aggressive of the pieces, so I wanted that one to have the most maybe maniacal kind of obsessive quality. There were some kind of characters in that one, figures that were gasping, and I thought there was almost a sense of danger and rescue maybe happening in that piece. So I wanted there to be this committed kind of purposeful action going on in that improvisation.

Then here for the final work, “Fake” which is right behind me, I was really attracted to these dangling kind of threads that shimmer and pick up some of the colors that were in the canvas sections of the piece. So for this one I tried to expand myself vertically the most, and because the name of the piece is “Fake,” I also wanted to play something that was a little bit insipid, like a really simple melody that then kind of gets convoluted, so that's why I drew it out so that it would extend to my uppermost notes. And I ended on a high g-sharp, which is not a note oboists love to play, but I thought it sort of picked up the shimmering kind of brightness of these little dangling edges.

Zelene Jiang Schlosberg: I love it, thank you so much! You inspire me so much and it's my great pleasure to have you with me today.

Andrew Nogal: Thanks for having me, it's a pleasure.

Zelene Jiang Schlosberg: Thank you.

艺术家蒋贞蕾伦敦个展《无间之距》(Air’s Chamber)2021年6月中旬在伦敦WOLDT Gallery London画廊开幕。音乐在蒋贞蕾 的艺术生活中起着决定性的作用。在展览期间,美国双簧管演奏家安德鲁·诺加尔( Andrew Nogal) 即兴演奏了她的四个作品。













《韧带》、帆布、亚克力、线,102x102x6.35cm,蒋贞蕾,2021 | Ligament, canvas, acrylic, thread, 102x102x6.35cm, 2021


《四季》,线、帆布、钉子和珠子,61x53x5cm,蒋贞蕾,2020 | Four Seasons, thread, canvas, nail and beads, 61x53x5cm, 2020


《肌腱》、帆布、亚克力、线,61x61x6.35cm,蒋贞蕾,2021 | Tendon, canvas, acrylic, thread, 61x61x6.35cm, 2021

然后是我身后的最后一个作品《Fake》,我真的被这些悬垂着的珠线所吸引,这些珠线会闪烁并拾取作品画布中的一些颜色。所以在这首曲子中,我尽量把自己纵向扩展,因为这首曲子的名字是“Fake”,我也想演奏一些有点乏味的东西,比如一段非常简单的旋律,然后变得有点复杂。所以这就是我把它拉出来的原因,以便它可以延伸到我最上面的音符。我以高的升G 调结束,这不是双簧管演奏者喜欢演奏的音符,但我认为它拾取了作品里悬垂边缘的闪烁亮度。

Fake, thread, canvas, wire, beads, acrylic, paper collage, 42x38x7.6cm, 蒋贞蕾,2020 | 《假》、线、帆布、金属丝、珠子、亚克力、纸拼贴画,42x38x7.6cm,2020





蒋贞蕾 (Zelene Jiang Schlosberg)出生于湖南永州,2001年硕士毕业于北京师范大学,2009年旅美从事艺术创作。艺术创作灵感常来自于建筑和当代音乐。过往独展包括“一个阳光灿烂的下午”(伊利诺伊州立大学芝加哥分校,2012),“过渡景观”(密苏里州北中央学院,2019),“悬崖”(伊利诺伊州东中央学院,2019)。另一个即将举行的个展将于 2021 年底在美华艺术协会Chinese American Arts Council (CAAC)(纽约)举行。参加多个国际和美国的艺术群展。她的画作“方向 #0”是作曲家 约翰利伯瑞特(John Liberatore) 2018 年发行的 CD 专辑“线画Line Drawings”(奥尔巴尼唱片公司)的封面。她的作品也可以在艺术家谈话杂志(英国)、工作室参观(美国)和艺术市场杂志(以色列)上看到。

安德鲁·诺加尔(Andrew Nogal)是一位著名的管弦乐演奏家、室内乐演奏家和当代音乐的诠释者。他是 Ensemble Dal Niente 的长期成员,曾与芝加哥交响乐团、俄勒冈交响乐团、CSO MusicNOW、Talea Ensemble 和 Alarm Will Sound 合作演出。他也在“六月在布法罗”、拉维尼亚音乐节和“纽约爱乐乐团菲尔双年展”等舞台亮相。他是芝加哥当代作曲中心格罗斯曼乐团的成员。最近的国际活动包括日本、澳大利亚、新西兰和北京现代音乐节。作为琉森音乐节学院的校友,诺加尔在 Fischoff 比赛中获得一等奖,在达姆施塔特暑期课程中获得 Kranichstein 音乐奖。



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