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SHANSHUI [carte blanche à Tengger part 1]


Active under the name of Tengger

since 2013, Itta (from Korea)

Marqido (from Japan) and their son Raii,

are a traveller and musician family

based in Seoul.

For five years they have been exploring

through their musical practice

and their travels (envisioned as spiritual

experiences in real environments) a rich

and diverse world, in which each of their

albums, performances, concerts and other

project invite us to wander.

Tengger’s most recent album, « Segye »

was released on dutch label

Guruguru Brain. It’s making was heavily

influenced by the proximity between

the recording studio and the location

where popular protests leading to

the destitution of president

Park Geun-hye took place, between

October and November of 2016.

For this new Carte Blanche on Sept*,

Itta and Marqido did craft an original

sound piece called « Shanshui »,

based on a concept that takes its roots

in Chinese Korean and Japanese

painting**. They deliver here their

very own interpretation of 山水, far away

from the sonic postcard that one could

expect, in the profound layers of tones

and hypnotic volutes and swirls of

Marqido’s modular synthesizer,

from which depths Itta’s Indian

harmonium luminous patterns arise,

followed by her ethereal voice,

seeming to echo and answer it.


The illustration was created by french

illustrator Paul Descamps, inspired by

Tengger’s sound piece and shanshui

painting style and concept.


*Sept is a virtual (and sometime

concrete) place dedicated to

the development and sharing of

experimental music practices.

It was initiated a year and a half ago

by Victor Donati, and is currently active as

an « antenna » of R22 tout monde

(a french webradio founded by

Khiasma independent art center,

based in Les Lilas 93260)


**The term sansuiga 山水画 is applied to

Chinese, Korean, and Japanese painting

which depicts an idealized image primarily

using the forms of mountains, rivers,

clouds and natural features such as

rocks and trees.

One of the three major subject categories

of Far Eastern painting, along with figure

painting jinbutsuga 人物画 and bird and

flower painting kachouga 花鳥画.

(Although the representation of landscape

had a long history in China,

only in the 11c did it become the

dominant subject of mainstream

painting.) Sometimes called the most

characteristic or the chief glory of the

entire Chinese painting tradition,

landscape painting is said to provide

not only a mirror of the natural world

but a means of expressing

human thought and abstract or

philosophical principles.


source: http://www.aisf.or.jp/~jaanus/deta/s/sansuiga.htm