“噪音语法 : 日常声音采样”——坡 空间 · 北京
Information/展览简介
我们惯常以视觉来界定创作的边界、接收信息、形塑思维。然而，这种视觉主导的认知模式，使得那些潜藏于耳畔的声音被无意识地忽略和屏蔽。当声音一旦进入展示空间，便常被赋予一种抽象的、疏离的、由感知差异带来的陌生感。正是在这种认知惯性中，我们追问一个根本性问题：声音是如何成为艺术的？而答案或许潜藏在那些被忽略的日常声景之中。
我们每天被数据流、即时信息或宏大叙事所包裹，在持续的“观看”和“阅读”中，渐渐失去了对近在咫尺、微小而真实的声音的感知能力。那些持续在耳边、悄然发生的声响，成为了一种“听觉的失语”。本次展览《噪音语法：日常声音采样》，正是试图打破这种感官惰性，将聆听置于创作思考的核心。
这是一次关于聆听的实验，也是一种对我们当下存在的批判性解构。展览的出发点源于一种持续地对固有边界的思考：艺术从未遥远，它恰恰生发于对被忽略细节的捕捉，以及对既有感知模式的挑战。我们所处的物理世界充满了被归类为“噪音”的无序声响，但这些声音并非杂乱无章，它们自成一套语法，暗含秩序与逻辑。
16位跨学科创作者在展览中如同声音的语言学家，通过采样、解构与重组，将这些声音从惯性背景中抽离出来，揭示其中复杂的信息与情感。
以 Ramp坡 的非常规空间为实践场域，在非线性路径与多层次的高度之间，构建了一条独特的声音探索路线。将声音艺术的在地实践与空间语境紧密结合，通过这条具有体验性、互动性的探索路径，我们完成一次由内而外的感官重塑，实现对声音的具身化理解。
这条探索路径被划分为三个递进的维度，第一单元：身体的节奏，将探索的起点定位于个体最私密的生理和心理声景。放大呼吸、心跳、下意识动作，将身体视为一个复杂的声源和映射机制。随后，第二单元：日常的声谱，将视角转向日常生活，聚焦物件和重复行为，将洗涤、弹跳以及创作过程中的声响，视为一种揭示内在困境和微观社会规则的编码。最终，第三单元：环境的回响，将声音引向更宏大的外部世界，考察气候、技术和建筑空间对听觉经验的塑造。
本次展览邀请每一位观众跳出日常的惯性，重新学习“倾听”，去发现那些被习惯屏蔽掉的“噪音”中，隐藏的奥义与语法。
《噪音语法》既是一次问题导向的批判性实践，也是一次面向所有人的感官层面的重新校准。最终引导我们从对声音的被动接收，指向对“琐碎日常”的深度审视。通过这场实验，我们希望与观众建立一种共鸣，声音成为艺术的关键，不在于其形式本身，而在于我们所赋予它的那份批判性转译与全新的语法。
噪音语法 : 日常声音采样
The Grammar of Noise: Sampling the Everyday
开幕：2025.10.18（星期六）15:00
展期：2025.10.18-2025.12.7
地址：Ramp坡 北京市朝阳区半截塔路郎园Station D4-4
主办方：Ramp 坡
特别感谢：abC、草台回声、從耳 SoundFields
参展艺术家：
陈凯滢、范邦宇、林雨歆、Linn and Wuu、刘桓孜、刘㔻、吕连涛、mafmadmaf、
Matthew Wilcock、苏永健&巴瑞云、Tom White、王长存、姚瑞天、张一丁.
展览发起人：张瑞琦
展览策划与执行：Ramp坡 团队
陈怡妙、宋成、十一、王杰雅、赵建奕、张文卓
We tend to define creative boundaries, absorb information, and shape our thinking primarily through sight. Yet this visual dominance often causes the sounds lingering at our ears to slip by unnoticed. Once in the exhibition space, sound is often seen as abstract, distant, or even strange—a reflection of how differently we perceive it. This raises a fundamental question: how does sound become art? Perhaps the answer lies in the overlooked soundscapes of the everyday.
We are surrounded by data streams, instant information, and grand narratives. In the constant acts of “watching” and “reading”, we gradually lose the ability to sense the minute, immediate, and real sounds around us. Those ongoing, almost imperceptible noises become a kind of “aphasia of hearing.” The exhibition, The Grammar of Noise: Sampling the Everyday, seeks to disrupt this sensory inertia and place listening at the core of creation.
This is both an experiment in listening and a critical deconstruction on our present being. It begins with a continued questioning of established boundaries: art is never distant, but emerges from noticing what is overlooked and challenging how we perceive. The physical world around us is filled with sounds categorisedas “noise,” yet these sounds are far from chaotic; they follow their own grammar, carrying an implicit sense of order and logic.
In this exhibition, 16 interdisciplinary artists act as linguists of sound. Through sampling, deconstruction, and recomposition, they draw these sounds out of their habitual backgrounds, revealing the complex layers of information and emotion within them.
Set within Ramp’s unconventional space, the exhibition unfolds an unique route for sonic exploration through nonlinear paths and shifting elevations. By closely entwining the situated sound practices with the spatial context, this experiential and interactive journey invites a sensory reconfiguration from within, toward an embodied understanding of sound.
The exploration is structured across three progressive dimensions. The first section, Rhythms of the Body, begins with the most intimate physiological and psychological soundscapes, amplifying breath, heartbeat, and unconscious movements, positioning the body as both a complex sound source and a resonant system. The second section, Everyday Spectra, shifts focus to everyday, highlighting objects and repetitive actions—washing, bouncing, and sounds of creation—as codes revealing inner tensions and micro-logics of social rules. The final section, Echoes of the Environment, extends sound into the broader world, examining how climate, technology, and architectural space shape auditory experience.
The exhibition invites each visitor to step out of everyday habits and relearn the act of listening, uncovering the hidden logic and grammar within the “noise” we usually block out.
The Grammar of Noise is both a problem-driven critical practice and a sensory recalibration for all. It guides us from passive reception of sound toward a deeper attention to the mundane. Through this experiment, the aim is to create resonance with the audience, showing that sound becomes art not by its form, but through the critical reinterpretation and new grammar we bring to it.
The Grammar of Noise: Sampling the Everyday
Opening: October 18, 2025 (Saturday), 3:00 PM
Exhibition Dates: October 18 – December 7, 2025
Venue: Ramp, Langyuan Station D4-4, Langyuan, Banjieta Road, Chaoyang District, Beijing
Organizer: Ramp
Special Thanks: abC, CAOTAI MUSIC, SoundFields
Participating Artists:
Kaiying Chen, Bangyu Fan, Yuxin Lin, Linn and Wuu, Huanzhi Liu, Pi Liu, Liantao Lv, mafmadmaf,
Matthew Wilcock, Yongjian Su & Ruiyun Ba, Tom White, Changcun Wang, Ruitian Yao, Yiding Zhang.
Initiated by: Ruiqi Zhang
Curators and Producers: Ramp Team — Yimiao Chen, Cheng Song, Shiyi, Jieya Wang, Jianyi Zhao, Wenzhuo Zhang
Artworks Live Photos/作品现场照片
Artworks Live Video/作品现场视频
Behind the scenes photos/幕后照片
Host/主办机构
Ramp 坡
2024年成立于北京，支持拓展艺术与设计语境中的多样化跨学科创作。
通过展览、工作坊、表演等形式，连结不同媒介与学科背景的创作者，营造一个鼓励实验、交流与协作的开放平台。
我们持续邀请具备实验精神、关注当代文化的创作者，共同探索开放而多元的艺术与设计表达。
Founded in Beijing in 2024, we support the expansion of diversecreation within the contexts of art and design.
Through exhibitions,workshops, performances, and other formats, we connect creatorsacross different mediums and disciplinary backgrounds, fostering anopen platform that encourages experimentation, exchange, andcollaboration.
We continuously invite creators with an experimental spiritand a focus on contemporary culture to jointly explore open and diverseexpressions in art and design.
