Vanissa Law

For the project Hong Kong Solos by Ari Benjamin Meyers that Spring produced for An exposition, not an exhibition (2017), Meyers invited 6 composers to create brief, jewel-like works to be performed live: Shane Aspegren, Steve Hui, Charles Kwong, Lam Lai, Vanissa Law, and GayBird Leung. These solos are then performed by staff members at six arts organizations across the city: Michelle Wong at Asia Art Archive, Samantha Kwok at Hong Kong Arts Centre, Tom Morgan at M+, Olivia Chow at Para Site, Alice Wong at soundpocket, and Chantal Wong at Things that can happen.

Vanissa was born in Hong Kong and began her studies at the Hong Kong Baptist University in 2004, started out as a piano major and studied piano with Chinese composer Mr. Cui Shiguang. After graduated from HKBU Vanissa turned her focus towards electroacoustic music composition during her stay at Ball State University, Indiana, majoring in voice and music composition. She was the winner of the regional (Indiana) audition of the National Association of Teachers of Singing in US in 2008. Vanissa returned to Hong Kong in 2010 and obtained her PhD in 2016 under the supervision of Prof Christopher Keyes.

Vanissa’s pieces and installations have been premiered and exhibited internationally at various events and festivals including the 13th International Conference on New Interfaces for Musical Expression (Seoul, Korea), Society of Composers (SCI) Region VI Conference (Texas, US), University of Central Missouri New Music Festival (Missouri, US), the soundSCAPE festival (Italy), 2013 International Workshop on Computer Music and Audio Technology (Taipei) and Hong Kong Arts Festival. Vanissa was granted the Fulbright Research Award and was sponsored to do a 10-month research at Louisiana Digital Media Center in 2014-15.

  • TypeComposer/Musician

A PART OF
AN EXPOSITION, NOT AN EXHIBITION

An exposition, not an exhibition was developed during Ari Benjamin Meyers’ two residencies at Spring Workshop in the summer and fall of 2016, and stems from his ongoing research into the essence of live musical performance and the questions surrounding its protocols for audiences, performers and institutions.

The Kunsthalle for Music is commissioned by Witte de With Center for Contemporary Art (Rotterdam) together with Spring Workshop (Hong Kong) and will make additional appearances at locations to be announced. An exposition, not an exhibition at Spring Workshop (March 2017) unfolds the Kunsthalle’s foundational themes, and will be followed by a congress at Witte de With (May 2017), then punctuated by an inaugural take-over, featuring a series of new commissions also at Witte de With (January 2018).

www.kunsthalleformusic.org 

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November 2017
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