10年燈籠 30年TECHNO 50年曆程
發布者:ruiwuguoji 發布日期:2019-11-28 16-04-01

10年燈籠 30年TECHNO 50年曆程



作者馬可司 M 施奈德

翻譯:王盼





過去10年中,社會、經濟和政治等眾多領域都發生了格局上的巨變,對北京乃至全球的都市亞文化也產生了影響。盡管並非一帆風順,已經堅持了10年的“燈籠”俱樂部上演的音樂之夜給ag捕鱼王2版平台官网留下了無數的回憶,無數的演出,無數的律動,無數的探索,無數或被銘記或被遺忘的故事。人們相遇,又分離,而後重逢,有些人找到彼此,有些則消失於人海。


“燈籠”的10年為許多人編織了一段鮮活的曆史。2019這一年有許多重大的周年紀念日,同時也是雷德利•斯科特(Ridley Scott)1982年的電影《銀翼殺手》中設定的年份,就是在這部電影中,複製人Roy Batty在臨死前說出了那句著名的話:“所有這些時刻,終將隨時間消逝,一如淚水消失在雨中。”10年時間也隻是淚光閃爍的短暫一瞬。


2009年年底,在針刺療法(Acupuncture)團隊成員共同的熱情和努力下,“燈籠”作為中國第一家專門致力於Techno音樂的俱樂部開門營業,也是同樣的團隊成就了中國首個Techno盛會——當時最大的電子音樂節“INTRO”。在那之前不久,在西方從事藝術和音樂領域工作20年的我輾轉來到北京。那時,大家心氣高昂,希望滿腔,要將理想照進現實。


“燈籠”屬於都市地下音樂文化的一部分,這種音樂最初起源於20世紀80年代的美國和歐洲,它汲取了此前20年的音樂養分,合成為一種前所未聞的未來主義的“Technotronic”的聲音。緊接著,這種聲音來到了正處於史上最開放時期的柏林,Techno落地生根,在接下來幾十年中塑造著這座城市。隨後從柏林傳播開來,跨越時空,成為全球的浪潮,不斷衍變和延展。


當時看來,Techno就是未來,現在看來依然如此。Techno中的藝術和技術權重不相上下,技術是它的靈魂的基礎,是它降臨這個世界的力量。再往前推10年,發電站樂隊(Kraftwerk)發表於1978年的概念性專輯《The Man-Machine》預言了這二者的結合是創新的關鍵,上一代機械合成音樂浪潮的先驅們認為這種結合至關重要。


來看一下Techno這個詞的涵義:“Techne”是一個術語,詞源來自希臘語詞τέχνη,經常被譯為技藝或技術(craftsmanship)、手藝(Craft)和藝術(Art)。Techne也可以與德語詞Technik進行一番比較和區別,Technik既指工業上的材料組成,也指為了達到特定的結果而所需的規則、程序和技術。Techne(藝術)和Technik(技術)的概念有一處共同點——兩者皆是將某種存在完整地呈現出來的方式。(參考 https://en.wikipedia.org/wiki/Techne )


作為激蕩的都市亞文化的一部分,Techno是一種音樂,卻遠大於音樂:Techno可以創造一個空間,令“燈籠”尤顯與眾不同和珍貴。作為一間Techno俱樂部(不同於以商業盈利為目的,或單純提供社交場合的俱樂部),“燈籠”是一個可以讓人在音樂中探尋自我的空間,一個可以盡情釋放的空間,去沉浸到一種抽象卻可以用身體律動去感知的維度裏。同樣地,這裏的音樂具有身體律動的特質:它在身體內部發生共振,開啟形而上的維度,激活並打開頭腦裏的空間。


“燈籠”是一個需要去體驗的空間,它能夠以多種方式消解人與人之間的邊界。燈籠是一個為興趣相投但又多元的音樂愛好者而設的空間,不管他們來自社會何界,不管他們來自世界何地。在這裏,你可以與一切與當下無關的事情脫節,進入到群體中,同時獨立享有自己的空間。這種獨特的平等和包容的特質令這裏成為一個友好的空間,誠意滿滿。這是我想讓所有人銘記的——Techno沒有邊界,每一個人都受到等同的歡迎。


回顧這10年,燈籠的團隊和其他策劃人製作了大量的活動,燈籠始終活躍在中國Techno文化的第一線。它是中國Techno文化的一艘旗艦,常常需要航行於凶險的水域。若沒有燈籠,沒有她的堅持和成就,很難想像今天的中國仍會有新一代Techno和地下音樂俱樂部追尋著他們的願景和信仰,從成都(TAG)到深圳(OIL),再回到北京(招待)。上海的實驗性的ALL(前身為Shelter)有著幾乎等長的曆史和影響力。Techno以及任何一種都市音樂文化都需要眾多的參與者和聽眾,多元令ag捕鱼王2版平台官网更強大。ag捕鱼王2版平台官网要維係住這種精神聯結到一起,而不是分化成不同的陣營。


回顧過去的10年讓人禁不住展望下一個10年——沒有什麽會一成不變。“燈籠”自身已經經曆了多次轉折,搬遷至不同的地點以及數次的內部結構改造,有過好日子也有不盡如人意的日子,最終ag捕鱼王2版平台官网可以在這裏通過北京最好的音響係統感受Techno的聲浪。國際音樂人越來越頻繁地在“燈籠”登台,把Techno的國際化浪潮帶到這裏,將他們的音樂見解和態度傾注在燈籠的舞池中。


Techno是為數不多的擁有創新能力,並不斷變革的音樂流派之一,始終躋身先鋒之列。當音樂向前奔馳,人們和技術會跟上腳步,將一切融匯在一起的地點也會更新。Techno不僅是曆史;不管它的過去多麽豐富,總是允許人們進一步大膽和富有創造力的實驗。創新關乎一種精神,需要對新想法和新概念保持好奇心和開放心,拋下舊,為新開創空間。正因如此,我向前看,希冀未來,同時將過去存於心中,願燈籠在下一個10年中繼續發展為一個可以讓本地新起之秀成長的地方。


經營和管理像燈籠這樣的一個空間會是一生的挑戰。滿懷感激和欣賞之情,我感謝翁嗡和每一位參與其中的人,感謝他們持久的付出,是他們將生命傾注於這間俱樂部,才得以讓這個必不可少的自由和音樂之地能夠一直為ag捕鱼王2版平台官网所有人開放。


與Techno呼吸與共的30年的生命裏,其中10年我在燈籠的舞池中度過。我曾作為視覺藝術家在最初位於3.3大廈的地點(通常與XLF一起)和第一屆在751舉辦的INTRO音樂節演出;這些年中,我策劃了多場活動:最開始通過Metrowaves(與王木木共同成立)帶來了Efdemin和Lawrence,其後通過Sinotronics(與Josh Feola共同創建)帶來了Menghan;而今天,我則在離開DJ台20年之後以DJ的身份再次歸來。燈籠為許多人編織了一段鮮活的曆史,我也是這些人中的一員。



MMS

2019年11月


MMS(Markus M Schneider 馬可司 M 施奈德)是一個駐中國的創意人和策劃人。

10 years of Lantern, 30 years of Techno, 50 years of the process




The last decade has been one of enormous changes and profound shifts in paradigm throughout all areas of society, the economy and politics, affecting urban underground culture as much in Beijing as on a global scale. Against all odds, Lantern has hosted a decade of nights of music with countless memories, countless performances, countless kick drums, countless explorations, countless stories to be remembered and forgotten. Pathways crossed, then separated, then crossed again, people found each other and others got lost.


10 years of Lantern means lived and woven history for many. 2019 might be a year of big anniversaries, but it is also the year in which Ridley Scott's 1982 film Blade Runner is set, and where the dying post-humanoid replicant Roy Batty famously states: “All those moments will be lost in time, like tears in rain.” A decade is as long as it is a glimpse of a reflection in one of those tears.


In 2009, Lantern opened as China's first club dedicated to Techno, due to the shared passion and efforts of the now legendary Acupuncture group, the same group behind China's first Techno festival and biggest electronic music event of that time, INTRO. Briefly before that, I was stranded in Beijing after 20 years of involvement in Western scenes of art and music — it was a time full of spirit, hope and turning ideas into reality.


Lantern is part of an urban musical underground culture which was first amplified in the late 1980s, between the US and Europe, blending influences of the previous two decades and synthesizing these into an unheard futuristic "Technotronic" sound. This sound then erupted as Techno in Berlin, a city at its most open moment in time, changing it for the decades after. From Berlin it spread, was altered and extended around the globe and across time.


Techno was the future then, and it still carries it on. Techno is as much a matter of art as it is a matter of technology, the foundations of its soul, the power of its coming to the world. 10 years earlier, Kraftwerk's visionary album The Man-Machine, from 1978, anticipated this duality as key to the new; it was essential to the avant-garde of the last man-made urban musical movement.


What resides inside the word Techno: "Techne" is a term, etymologically derived from the Greek word τέχνη, which is often translated as "craftsmanship", "craft", or "art". Techne can also be compared or distinguished from the German term Technik, which refers both to the material composition of industry as well as to the rules, procedures, and skills used to achieve a particular outcome. The concepts of Techne (art) and Technik (technology)are viewed to share a commonality — both are ways in which beings as a whole may be brought to light. (Also see https://en.wikipedia.org/wiki/Techne)



As a part of oscillating urban underground culture(s), Techno is music but much more than this: Techno is a space, making Lantern as delicate as it is important. Being a Techno club (distinctive to clubs primarily driven by commercial interests, or places offering rooms in which to socialize), Lantern is a space to explore oneself in music, a space to let go and be immersed in an abstract yet physical dimension. And in the same way, the music has a physical quality: it resonates inside the body; it comes with a metaphysical dimension; it activates and opens a mental space.


Lantern is an experiential room and allows the dissolution of boundaries in multiple ways. Lantern is a space for like-minded but very diverse music lovers, no matter where they’re from in society, no matter where they’re from in the world. It is a place to get disconnected from anything else than the moment, and to mutually, yet independently space out. This unique equality and quality of tolerance make it a sensitive space, which is carried by respect. And this is what I wish to keep in mind for all — Techno has no boundaries; everyone is equally welcome.


Looking back on these 10 years and the vast program of events carried out by the Lantern crew and external promoters, Lantern still stands at the forefront of Techno culture in China. It is its biggest ship, sailing often through troubled waters. Without Lantern, its persistence, and its achievements, it's hard to imagine the new generation of Techno and underground music clubs pursuing their visions and identities in today's China, from Chengdu (TAG) to Shenzhen (OIL), and back to Beijing (ZhaoDai). Shanghai's experimental ALL club, the continuation of the Shelter club, has a similarly long history and record of influence. Techno — and any kind of urban music culture — requires a multitude of actors and audience, a diversity making us stronger. It is what better unites us in spirit, not separates into groups.


Looking back at the last 10 years provokes one to look ahead to the next 10 — Nothing stands still. Lantern itself has gone through numerous transitions, different locationss, better and worse days, finally letting us sense the waves of Techno through one of the finest sound systems present in Beijing. International artists are performing there more frequently than ever, showcasing Techno as a global movement and putting their musical perspective and attitude on Lantern’s dance floors.


Techno is one of the very few genres which had the innovative power to remain in transition, to remain an ongoing avant-garde.When the music develops, so will the people, the technology, and the places where everything blends together. Techno is not just a history; no matter how rich its past, it allows for further experimentation, for boldness, and bravery, and inventiveness. Innovation is a matter of mind, it requires to stay curious and open to new ideas and concepts, to leave the old behind to create space for the new. In this sense I look ahead, look forward, aware of what lies behind, wishing Lantern to develop further over the next decade to come, to become a place for new local talents to grow and reach out.


To operate and run a space like Lantern is the challenge of a lifetime. It is with gratitude and appreciation that I thank Weng Weng and everyone involved at Lantern for their endurance, their efforts, and the lives they've put into the club to keep this essential space of freedom and music up and running for all of us.


Out of 30 years living with and in Techno, I spent 10 years of it on the floors of Lantern, performing visuals (often with XLF) at the original 3.3 locations, plus the first INTRO festivals at 751. Over the years I've contributed many bookings and events, starting with Efdemin and Lawrence through Metrowaves (co-founded with Wang Mumu), and later with Menghan through Sinotronics (co-founded with Josh Feola), now coming back with DJ sets after a break of 20 years. Lantern is lived and woven history for many, and for me.



MMS 

November 2019


MMS aka Markus M Schneider is a China-based creative and curator. 


https://www.wisenotwise.com/mms

mms@metroprojects.org


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