「 失聲祭LSF編號#146演出 」
聲音沒有固定的形狀。
低頻、節奏、噪音與電子訊號，在不同的聲音系統裡持續變化。
Cate Hops 與 Alexandra Maciá 從低音文化、實驗電子到類比影音，交織出節奏與噪音的不同層次。Andreas Zißler 以模組合成器與 DIY 電子進行即興，讓回授、共振與偶發訊號成為演出的推進力。Romain C. Bertheau 將鋼琴、管風琴與 no-input 電子聲響並置，打開樂器與噪音之間的另一種關係。Rübezahl 則透過自製電子樂器、任天堂遊戲機與吹管音色，混合高速節奏、失真與舞池能量。
從低頻的身體感，到電子訊號的不可預測性，聲音在這裡不必遵循既定形式，而是在現場不斷發生。
演出時間:2026 年 11月 21日(六) 19:00 - 21:30(2.5hrs)
演出地點:濕地(104 臺北市中山區林森北路107巷10號 B1)
售票資訊：預售450
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演出藝術家/Artists :
Cate HopsX Alexandra Maciá
Andreas Zißler
Romain C. Bertheau
Rübezahl
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藝術家介紹｜
【 Cate Hops 】
Cate Hops 是視覺人類學者、電台主持人 Eugenia Seriakov 的 DJ 名號。她有藝術理論與哲學背景，創作圍繞「空間作為一種社會實踐」展開。她長年活躍於柏林的低音音樂場景，把氛圍音樂、早期根源雷鬼和帶未來感的聲響混在一起，打擊樂節奏持續變換，厚重的低音在底下推著整個 set 前進。近年她也做即興噪音現場，並透過長期企劃《Sound System Culture: On the Radical Roots of Rave》和自己的廣播節目，邀請觀眾與社群一起參與 Sound System 文化的討論。
【 Alexandra Maciá 】
Alexandra Maciá 來自西班牙格拉納達，現居柏林，創作集中在聲音與影像交會的地帶，延續她十五年電影與攝影工作的經驗。她使用模組合成器、電磁訊號源、類比影音技術與自製硬體，素材取自電視、攝影機、示波器訊號與田野錄音，聲響粗糙、密度很高，把噪音和感知之間的界線弄得模糊。她是 Phallucipher、E-09、Bio Glitch 等團體的成員，也共同創辦了 Fem Noise、Vortex Era、Critical Noise 與 Sonic FLINTA Archives，長期投入實驗聲音與多元性別創作者社群。
【 Andreas Zißler 】
Andreas Zißler 是德國藝術家，現居里斯本，目前在台北寶藏巖國際藝術村駐村。他的創作遊走在聲音、雕塑與建築之間，以裝置、演出與場域介入的形式成形。
這次他會帶來一場即興現場，使用模組合成器與 DIY 電子。他的策略包括漫步、機遇、聲音回授、空間化、共振、尋找形式，以及崩解並停留在崩解之中。聲響喚起不同的環境，像是走過一片片地景，進入某個空間，在裡面待上一陣子，再把它留在身後。
【 Romain C. Bertheau 】
Romain C. Bertheau 是作曲家，也是鋼琴、管風琴、大鍵琴演奏者與噪音音樂家，長期在當代實驗音樂與跨領域聲響創作之間工作。他在巴黎音樂院學習鋼琴，後來改主修大鍵琴，曾獲 Euro-region 國際鋼琴大賽首獎，以及「Maurizio Pratola」古樂國際大賽大鍵琴演奏首獎。他的創作同時涉及管風琴、鋼琴與 no-input 電子聲響系統，也是柏林實驗音樂系列 Organ Sequences 的創辦人與策展人。
【 Rübezahl 】
Rübezahl 是來自德國的電子音樂家，演出用的樂器都是自己做的。他用任天堂遊戲機發出飛快的嘰嘰喳喳旋律，快到某個程度，快反而成了新的慢；再疊上 Xaphoon（一種介於笛子和薩克斯風之間的吹管樂器）柔和的聲音，帶出一種好玩、甚至有點可口的末日氛圍。他的自製樂器以類比電路為主，著重聲音的物理性，演出時會把觀眾和現場環境一起捲進來。回授迴路和各種聲音處理交錯運作，舞池和實驗音樂之間那條模糊的界線，在他的現場裡沒有人會去在意。
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主辦單位：音瀑奧譜聲音藝術實驗室
協辦單位：濕地
贊助單位：國家文化藝術基金會、台北市文化局
Sound has no fixed form.
Low frequencies, rhythms, noise, and electronic signals continuously shift and transform across different sonic systems.
Cate Hops and Alexandra Maciá weave together bass culture, experimental electronics, and analog audio-visual practices, exploring the shifting layers between rhythm and noise. Andreas Zißler improvises with modular synthesizers and DIY electronics, allowing feedback, resonance, and chance signals to drive the performance forward. Romain C. Bertheau places piano, organ, and no-input electronics in dialogue, opening up alternative relationships between musical instruments and noise. Rübezahl combines self-built electronic instruments, Nintendo consoles, and the breathy tones of a wind instrument, blending high-speed rhythms, distortion, and dancefloor energy.
From the physical presence of low frequencies to the unpredictability of electronic signals, sound here is not bound by predetermined forms. Instead, it continually unfolds in the moment.
Date: Saturday, November 21, 2026
Time: 19:00–21:30 (2.5 hours)
Venue: Wetland
B1, No. 10, Lane 107, Linsen North Road, Zhongshan District, Taipei City 104, Taiwan
Tickets: NT$450 presa
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Artists
Cate Hops × Alexandra Maciá
Andreas Zißler
Romain C. Bertheau
Rübezahl
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Artist Bios
【Cate Hops】
Cate Hops is the DJ alias of Eugenia Seriakov, a visual anthropologist and radio host with a background in art theory and philosophy. Her practice revolves around the idea of space as a form of social practice.
A long-standing presence in Berlin’s bass music scene, she blends ambient music, early roots reggae, and futuristic sounds, driven by constantly shifting percussion and deep basslines that propel each set forward. In recent years, she has also ventured into live noise improvisation. Through her ongoing project Sound System Culture: On the Radical Roots of Rave and her radio programs, she invites audiences and communities to engage in conversations around sound system culture.
【Alexandra Maciá】
Originally from Granada, Spain, Alexandra Maciá is now based in Berlin. Her practice explores the intersection of sound and image, drawing on fifteen years of experience in film and photography.
Working with modular synthesizers, electromagnetic signal sources, analog audio-visual technologies, and custom-built hardware, she draws material from television, cameras, oscilloscope signals, and field recordings. Her sound is raw and densely layered, blurring the boundaries between noise and perception.
She is a member of Phallucipher, E-09, and Bio Glitch, and has co-founded Fem Noise, Vortex Era, Critical Noise, and Sonic FLINTA Archives. Her work is deeply rooted in experimental sound practices and the cultivation of communities for gender-diverse artists.
【Andreas Zißler】
Andreas Zißler is a German artist based in Lisbon, currently undertaking a residency at Treasure Hill Artist Village in Taipei. His practice moves between sound, sculpture, and architecture, taking shape through installations, performances, and site-specific interventions.
For this performance, he presents an improvisational set using modular synthesizers and DIY electronics. His approach embraces wandering, chance, feedback, spatialization, resonance, the search for form, and the act of breaking down and remaining within that breakdown.
His sounds evoke different environments, like moving through a series of landscapes: entering a space, dwelling within it for a while, and eventually leaving it behind.
【Romain C. Bertheau】
Romain C. Bertheau is a composer, pianist, organist, harpsichordist, and noise musician whose work spans contemporary experimental music and interdisciplinary sonic practices.
He studied piano at the Conservatoire de Paris before switching his focus to the harpsichord. His accolades include first prize at the Euro-region International Piano Competition and first prize in harpsichord performance at the Maurizio Pratola International Early Music Competition.
His practice encompasses organ, piano, and no-input electronic sound systems. He is also the founder and curator of Organ Sequences, an experimental music series based in Berlin.
【Rübezahl】
Rübezahl is an electronic musician from Germany who performs entirely with instruments of his own making.
Using Nintendo consoles to generate rapid-fire, chirping melodies, he pushes speed to the point where fast begins to feel like a new kind of slow. These sounds intertwine with the mellow tones of the Xaphoon, a wind instrument that sits somewhere between a flute and a saxophone, creating a playful and almost deliciously apocalyptic atmosphere.
His custom-built instruments are primarily based on analog circuitry, with a strong focus on the physical properties of sound. His performances draw both the audience and the surrounding environment into the sonic process. Feedback loops and various sound-processing techniques intertwine, blurring the boundaries between the dancefloor and experimental music until the distinction no longer matters.
