Chemical Reaction
As a sound artist, my chosen way of life is to eliminate formalities and allow sound to undergo chemical reactions under the forces of nature.
I am a freelance independent sound artist, spending most of my time researching the composition of sound. From 2002 to 2014, I didn’t utilize software or hardware equipment; my instrument was the human voice. I collaborated with artists from around the world, engaging in collisions and live improvisation. I was fortunate to work with my band, “Sound Sculpture,” providing live improvised music for classic old films from a century ago. We performed in various artistic spaces.
In June 2014, while performing with a band, I fell ill due to excessive fatigue, ending up in the hospital for surgery. I incurred substantial medical expenses, coupled with complaints from band members. All the hard work and creativity were negated. I experienced immense psychological pressure, feeling deeply hurt and lonely. Therefore, in 2015, I started creating using GarageBand on Mac, completing works such as “Black Swan,” “Light,” “Flower,” and more. I did this solely to prove that my creative abilities should not be invalidated.
In 2017, I began using software like Ableton Live and Logic, as well as hardware and synthesizer controllers and modules. My works gradually started to change, moving towards an experimental minimalist style. With each creation, I constantly pushed myself beyond limits. In 2018, under the guidance and assistance of Italian artist Alessandro, we visited the Bernard Factory in China, where we conducted sound sampling work. Bernard is a French-Italian car parts processing factory, and many artists have created works there, utilizing the factory’s raw materials. Similarly, I collected a large number of sounds through sampling recordings—sounds from the workshop, sounds of the workers, particularly their languages and expressions from different countries such as France, Italy, Ghana, and more. I transformed these sounds into artworks. Carrying these works, in July 2018, we went to Palermo in southern Italy to participate in an electronic music festival. Upon returning, I felt a different sensation and received much encouragement and inspiration. Just as everything started to improve, the pandemic erupted, and everything changed.
During the Spring Festival of 2020, the planned New Year’s Eve dinner with friends was canceled. At that time, I was living in the Caochangdi Art District in Beijing, and the village was sealed off. I felt extremely frustrated and lost about the future. I hadn’t left the village for about four months, and the pressure of survival kept increasing. The rent kept rising without reduction. To alleviate the pressure, I reluctantly decided to temporarily return to my hometown, leaving behind Beijing, where I had lived for 18 years, and going back to a completely unfamiliar city. It was a very lonely feeling. Everything here felt distant and unfamiliar. Only music accompanied me.
During the three years of lockdown, I gradually adjusted my mindset. I established my own studio and gradually got to know some music-making buddies. Occasionally, we performed together. I also experienced the most severe challenges of the lockdown period, including food shortages and daily nucleic acid tests. However, music could still continue, and I remained happy and fulfilled.
Now that we have obtained the most basic freedom, I will cherish this hard-earned freedom. I will continue to work hard to be the purest musician, constantly elevating the auditory space with music. No matter what happens in the future, music will always accompany me.
New works are still being created, and I am more than willing to share them with everyone. Please look forward to it!
Experimental electronic music, materials, old photos + computer drawing, music production: Fenni.
Imprinting
Album Description: Time is like a sick pendulum, constantly moving forward and backward. Time walks in and out with the light, and the dark air enters the brain. The internal decomposition transforms into frame by frame filters. These are the filters of sound, carrying an invitation from the virus. The metal chains clash with bound freedom, colliding to create the future’s conquest. The ashes are right in front, on the other side of the sea. The sunlight is like a stealthy intruder, reaching the end of the world.
Fenni
Independent musician, sound artist.
In 1999, I graduated from Xi’an Conservatory of Music. However, driven by curiosity for new things, I came to Beijing in 2002 with the band “Wild Kids.” In 2003, I met musicians from France and Canada and together we formed the band “TRIPAZIA” – an oriental mystique band. We recorded an album called “The Beautiful War” and embarked on a long journey in Beijing. Apart from making music, Fanny also enjoys computer drawing and writing poetry. During her time in Beijing, she worked at a gallery in the 798 Art District.
In 2004, the songs “Touching You in the Clouds” and “House and Little Road” from the album were featured in the Hollywood independent film “Firecracker” and received a nomination for the 76th Academy Awards for Best Original Music in an Independent Film. In August 2004, the songs “Touching You in the Clouds” and “Blue Girl” from the album were selected as the soundtrack for the domestic independent film “Waiting Alone,” earning nominations at the Tokyo International Film Festival and the Golden Rooster Awards. From 2005 to 2012, she began exploring the experimental nature of sound and various atmospheric possibilities.
In 2012, she collaborated with musicians and artists from around the world in different forms of music, theater, film, dance, and more. In 2013, she performed with her band “Sound Sculpture” in various art spaces, improvising music for silent films and producing albums and film soundtracks. In 2015, she released singles such as “Blackbird,” “Flower,” “Light,” and “Undercover Agent.” From 2016 to 2017, she started using software and hardware to create music, primarily focusing on electronic experimental ambient music.
In 2018, she participated in the Palermo Electronic Music Festival in southern Italy. In 2021, she released the single “Bethlehem” for a Christmas special. In 2022, she released two albums: “Deep in the Plankton” and “Fairy Dust Particles.” She also completed two Christmas singles: “Mount Zion” and “40.”
Different from ordinary people have the music of spirituality and music perception, style from art illusion masters Codex Seraphini and formed its own unique music language, the experimental construction of multi-dimensional spatial hearing, with the sound through the ears and the vibration of the different parts of the body, touches the magnetic field energy, development and deep development of auditory space, make sound stereo stagger in different directions, Create different illusions, generate pulse fault sound art in the topology of spatial dislocation, so that electronic Ambient music has more expansion and experimental, in the Future Bass, Dubstep, Ambient music, Dark Ambient, Ambient Dub, Glitch, Microsound, Psybient, Experimental Dub and other music styles freely switch, currently with Chinese and Western contemporary artists, art projects, film, theater and other fields of cooperation. And continuous extension and innovation.
Experimental ambient electronic music, materials: photography + computer drawing, music production: Fenni.
實驗氛圍電子音樂，材料：攝影＋電腦繪畫，音樂製作：芬妮fenni
Mount Zion: Awakening of Space
In the twilight of early autumn,in a place where the virus hides, the universe breathes with me. The Grim Reaper gazes at every indulgent creature. The sky is like fragmented fibers, trembling and ringing in the wind. Each track’s editing is carefully considered, with a determination akin to facing death. Straight lines and geometry, the mournful cries in the wind seem to plunge into deep space without a bottom, suspended amidst sheer cliffs. There is no fear, no regret, no panic, only a destiny-like calmness, calmly breathing with the universe, waiting for the next life…
錫安山 空間覺醒
在初秋的黃昏，在病毒藏匿的某一處，宇宙和我一同呼吸，死神窺視著每一個放縱的生物體，天空如同細碎的纖維，在風中瑟瑟發抖的鳴響，每一軌的編輯深思熟慮，有著赴死般的決絕，直線體與幾何，風中的悲鳴如同墜入深空而不見底，懸空在絕壁之中，沒有恐懼，沒有遺憾，沒有恐慌，只有宿命般的平靜，平靜的與宇宙一起呼吸，等待來世……
化合作用
作為一名聲音藝術家，我選擇的生活方式是去掉形式化，讓聲音在自然的運力下產生化合作用。
我是一名自由獨立聲音藝術家，大部分時間在研究聲音的構成。在2002-2014年期間，我還沒有運用軟件和硬件設備，我的樂器就是人聲，我與來自世界各地的藝術家合作，碰撞和現場即興創造，很幸運我和我的樂隊《聲音雕塑》一起，為100年前的老電影進行現場即興配樂，我們出色的完成了多部很經典的老電影，在不同的藝術空間進行表演。
在2014年6月，我與一個樂隊演出時由於疲勞過度，導致我病倒了，住進醫院，做了手術，大量的醫藥費，加上樂隊成員的抱怨，所有的辛苦創作都被否定了，當時心理壓力非常大，也非常的委屈和孤獨，所以在2015年，我開始用Mac的GarageBand進行創作，完成了《黑鳥》《光》《花》等一批作品，我做這些，只是為了證明自己的創作能力不被否定。
在2017年，我開始用Ableton Live,Logic等軟件進行創作同時也用了硬件和合成器控制器，模塊等，作品也慢慢開始變化，越來越趨於實驗性的極簡主義風格，每一次創作都不斷的突破自己，2018年，在意大利藝術家Alessandro的引導和幫助下，我們去了伯納德工廠，在那裡進行聲音的採樣工作，伯納德是法國意大利在中國的一個汽車零件加工廠，很多藝術家都在這裡做過作品，他們利用工廠的原材料進行創作，我也一樣，用採樣錄音的方式收集了大量的聲音，車間裡的聲音，工人們的聲音，特別是來自法國，意大利，加納等不同國家的工人們不同的語言，不同的表達方式，然後我把這些聲音做成了作品，帶著這些作品，在2018年的7月我們去了意大利南部的Palomo，參加了電子音樂節，回來後感受很不一樣，也受到很多的鼓勵和感動，當一切開始好轉時，疫情爆發了，一切的一切都發生了改變。
2020年春節，與朋友約好的年夜飯取消了，當時我住在北京草場地藝術區，村子被封了，當時非常沮喪，對未來感到迷惘，差不多有4個月沒有走出村子，生存的壓力越來越大，房租只增不減，為了減輕壓力，我無奈選擇了暫時回家鄉的想法，離開自己生活了18年的北京，回到一個完全陌生的城市，也是很孤獨的感覺，這裡一切都是疏離的，陌生的，只有音樂陪著我。
在封控的3年裡，我開始慢慢調整自己的心態，我建立了自己的工作室，慢慢也認識了一些做音樂的小伙伴，偶爾我們一起演出，我也經歷了封控時期最嚴酷的考驗，食物短缺，每天做核酸，不過，音樂可以繼續下去，我還是很開心和充實的。
現在我們獲得了最基本的自由，我會珍惜這自由的不易，我會繼續努力做最純粹的音樂人，讓音樂不斷的升級聽覺空間，無論未來發生什麼，音樂會一直陪伴著我。
新的作品還在繼續創作中，我很願意與大家分享，敬請大家期待！
芬妮
獨立音樂人，聲音藝術家。
1999年畢業於西安音樂學院，但由於對新事物的好奇，於2002年隨《野孩子》樂隊來到北京，2003年認識了法國，加拿大音樂人，一起組建了《TRIPAZIA》東方迷香樂隊，錄製了一張專輯《The Beautiful War》，同時也開始了漫長的北漂生活。芬妮平時除了做音樂，也喜歡用電腦繪畫和詩歌寫作，在北京期間曾在798藝術區畫廊工作。
2004年專輯中的音樂“觸摸雲中的你”和“房子和小路”被好萊塢獨立電影《firecracker》“爆竹”用作電影原聲，並獲得第76屆奧斯卡獨立電影音樂獎提名；2004年8月，專輯“甜美的戰爭”中“觸摸雲中的你”和“藍色女孩”被國內獨立電影“獨自等待”選中作為電影原聲，獲得東京國際電影節最佳提名和金雞獎；2005-2012年開始探索聲音的實驗性和多種氛圍的可能性；2012年與世界各地的音樂人，藝術家合作不同形式的音樂，戲劇，電影，舞蹈等；2013年與自己的樂隊《聲音雕塑》表演於不同的藝術空間，為無聲電影即興配樂並製作專輯與電影原聲；2015年發表單曲《黑鳥》《花》《光》《水諜》等單曲；2016年—2017年開始運用軟件和硬件創作音樂，主要是電子實驗氛圍音樂；2018年參加意大利南部西西里島palomo電子音樂節；2021年發行單曲《Bethlehem》伯利恆，聖誕特輯；2022年發表兩張專輯《Deep in the plankton》深淺浮游和《Fairy dust particles》仙塵顆粒；同年完成兩首聖誕單曲《Mount Zion》錫安山和《40》。
芬妮有著異於常人的音樂靈性和音樂感知能力，創作靈感源自藝術大師賽拉菲尼的手抄本，形成了自己獨有的音樂語言，用聲音實驗構建多維度的空間聽覺，通過雙耳與身體不同部位的振動，觸動著能量磁場，拓展和開發深層的聽覺空間，讓聲音立體交錯於不同的方位，產生不同的幻覺，在空間錯位的拓撲學中，生成脈衝故障聲音藝術，讓電子氛圍音樂有了更多的拓展和實驗性，在未來貝斯 Future Bass，迴響貝斯 Dubstep，氛圍音樂 Ambient，黑暗氛圍 Dark Ambient，氛圍迴響 Ambient Dub，脈衝 Glitch，微聲 Microsound，迷幻氛圍 Psybient，實驗迴響 Experimental Dub等音樂風格中自如的切換，目前與中西方當代藝術家，藝術項目，電影，戲劇等不同的領域合作，並不斷的延伸和創新。
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