Written in the style of a 1970s protest sign.
Paper, Japanese Calligraphy Ink, Tape
36” x 48”
Andrew Lee and Cheryl L’Hirondelle have refigured raw materials and sediment found surrounding the 100 block of West Hastings into a processbased “landscape” housed in a series of transparent tubes. The installation responds to the landscape painting tradition on the West Coast (which often represented Native culture through its decaying relics) while considering the extended history of the altered site of Hastings Street. The title of the work, everything up to the sky and down to the centre of the earth, borrowed from a textbook that traces the origins of the concept of private property in Britain, points to the extent to which private ownership has radically altered understandings, images, and relationships to land, particularly for Native people.
- Candice Hopkins
Exhibition Catalogue PDF
14" x 17"
Pencil, Ink, Paper, Foamcore, 2 x Fluorescent Lights
The drawing is installed in the gallery space with 45w/110v/5500k fluorescent light creating a shadow plane on a X and Y axis.
The audio from the composition “Suicide Is Painless” was ported into a midi note generator and then performed by software instruments. The musical notes, rhythms and structures being translated from music, then into a musical instrument digital interface and then back into music creates artifacts and ghosts notes that are not present in the original composition. The sound is broadcasted via a Leslie Rotating Speaker.
“Suicide Is Painless” is a song written by Johnny Mandel (music) and Mike Altman (lyrics), which was the theme song for both the movie and TV series M*A*S*H.
Mike Altman is the son of the original film’s director, Robert Altman, and was 15 years old when he wrote the song’s lyrics. During an appearance on The Tonight Show Starring Johnny Carson in the 1980s, Robert Altman said that while he only made $70,000 for having directed the movie, his son had earned more than $1 million for having co-written the song.
The song was written specifically for Ken Prymus (the actor playing Private Seidman), who sang it during the faux suicide of Walter "Painless Pole" Waldowski (John Schuck) in the film's "Last Supper" scene. Robert Altman had two stipulations about the song for Mandel: first, it had to be called "Suicide Is Painless"; second, it had to be the "stupidest song ever written". Altman tried to write the lyrics himself, but found that it was too difficult for his 45-year-old brain to write "stupid enough". Instead he gave the task to his 15-year-old-son, Michael.
Altman later decided that the song worked so well, he would use it as the film's main theme, despite Mandel's initial objections.[better source needed] This version was sung by uncredited session singers John Bahler, Tom Bahler, Ron Hicklin and Ian Freebairn-Smith and the single was attributed to "The Mash."
The song became a hit, and has since been covered by over 30 different artists.
The following is an article from the book Uncle John's Canoramic Bathroom Reader.
The unlikely origin of an instantly recognizable theme song.
Early in his career, Robert Altman had a reputation for being difficult. When he was still directing TV shows like Maverick and Bonanza, he’d been fired several times over “creative differences” with his bosses. He was recognized as talented, but his rancorous nature slowed his work to a trickle. Finally in 1969, after nearly two decades of struggling, he got a big break. He was offered the opportunity to direct a film version of MASH, Richard Hooker’s 1968 novel about three doctors’ misadventures in a mobile army surgical hospital (MASH) during the Korean War. Altman wasn’t the studio’s first choice. In fact, he wasn’t even their tenth choice. More than a dozen other directors had rejected the project, and with good reason: at a time when the war in Vietnam was a very controversial topic, MASH’s mix of crude hijinks and badly injured soldiers had the smell of a box-office disaster. But Altman didn’t have a lot to lose, so he took the job.
FACING THE MUSIC
Analyzing the script, Altman was aware that he was walking a tightrope between slapstick and tragedy. But if he could craft a scene that successfully combined both, he felt that he could probably figure out the rest of the movie. He settled on a scene he nicknamed “The Last Supper,” in which Captain Walter “Painless Pole” Waldowski decides to kill himself after an embarrassing failure in the bedroom, and in response, his friends wine and dine with him in a pre-death “wake” in which his seat of honor is a casket.
Altman quickly saw that the absurdity of the scene wasn’t quite working as written. It needed a song— solemn… but so bad that it was funny. Altman called on a friend— composer Johnny Mandel, who’d recently won an Oscar for his song “The Shadow of Your Smile” from the movie The Sandpipers. Mandel accepted the job, but not without some trepidation. The last film he’d done with Altman (That Cold Day in the Park) had been an embarrassing flop, and he knew that, in Hollywood, another flop could do serious damage to his career.
Although a movie score is usually handled in postproduction, after filming and editing, Altman asked Mandel to be present during the planning of “The Last Supper.” That’s when he asked Mandel to write a song for actor Ken Prymus to sing while playing the guitar. Altman’s two stipulations: the song had to be called “Suicide Is Painless,” and it had to be “the stupidest song ever written.”
SINS OF THE FATHER
Altman may have sensed Mandel’s lack of enthusiasm in aspiring to stupidity. He told Mandel to stick with the music and forget about the lyrics— Altman would write them himself. Easier said than done. Altman discovered that stupidity wasn’t as simple as it looks. “I can’t write anything nearly as stupid as what we need,” he reported after a few days of trying. But he had a trump card: his 14-year-old son, Michael. Whether Mike should’ve been flattered or insulted, his father was confident that he had within him “the stupidest song ever,” and Mike didn’t disappoint. He came through with lines like “The sword of time will pierce our skins / The pain grows stronger, watch it grin,” and Altman declared them perfect. Award-winning songwriter Mandel wasn’t so sure. In fact, he was mortified when Altman decided to use the song for the movie’s title song as well. Mandel couldn’t see how the “stupid song,” performed in an easy-listening style, fit the scenes of helicopters, stretchers, carnage, and patients in pain. But somehow it did.
IRONIES IN THE FIRE
Amazingly, “Suicide Is Painless” became Mandel’s biggest hit… and Michael Altman’s only hit. When producer Ingo Preminger asked what he wanted for writing the lyrics, the 14-year-old said that all he wanted in return was a guitar. Instead, producer Preminger gave him a standard songwriter’s contract. Lucky for Michael. The song was recorded by dozens of musicians, from Henry Mancini to Marilyn Manson, and it was used for the TV version of M*A*S*H.
Robert Altman went on to become a hugely successful filmmaker; Johnny Mandel scored many more movies. Michael, though, retired from songwriting and focused on his career as a painter. He could afford to. In the 1980s, his dad good-naturedly complained to Johnny Carson that he’d been paid only $ 70,000 for directing the movie, while his son had become a millionaire from the song.
“Every time I try to conform to an expectation, it’s more grief than its worth.
In the end, I can’t do everything to make you happy,
So I might as well maintain my sense of identity.
The haircut seems to be the least offensive of all the things I’ve done
The only way I express myself… it’s a choice.”
- Meesoo Lee, A Bad Hair Day (2001)
A haircut is a common life ritual. Everyone, for the most part, has hair – it grows, and needs occasional care. Beyond necessity, haircuts frame how we’d like to convey ourselves to the world: an aesthetic decision we adorn everyday. They differentiate us, yet are also an equalizer; a constant. The relationship with those who cut our hair requires trust. Can we take this risk with a stranger? Can a haircut, beyond simple service, be a therapeutics for the people – an exchange that leaves us transformed?
For the final project, Khan Lee and Andrew Lee will host Francis Cruz as artist-in-residence of Boothy, where he will give complimentary haircuts to the community, making a stratified service accessible to all. Cruz, an artist and professionally-trained stylist, works at Field Trip Hair Co. in Mount Pleasant. For each encounter, he will discuss personal desires to customize the haircut as a means of self-care and personal transformation. In the spirit of the history of salon culture, the age of conversation and the public sphere, we invite you to take a chance, see what emerges, or ask someone outside your everyday circles to try something new.
On June 30, the closing night of What Are Our Supports, Khan Lee, Andrew Lee and Francis Cruz will perform a light-and-sound composition within the parameters of the booth, an absurdist commentary on limitations on space and imaginative potential.
What Are our Supports, a series of artists’ projects in public space by Emily Neufeld with Cease Wyss, Stacey Ho with Elisa Ferrari, DRIL Art Collective, and Khan Lee and Andrew Lee, is made possible through the generous support of the City of Vancouver’s Public Art Program.
The Or Gallery and Richmond Art Gallery acknowledge their presence on unceded Musqueam, Squamish, and Tsleil-Waututh territories. We are grateful for the support of the Canada Council for the Arts, the Government of British Columbia, the City of Vancouver, the British Columbia Arts Council, our members, donors, and volunteers. The Or Gallery is a member of the Pacific Association of Artist-Run Centres (PAARC).  Meesoo Lee, A Bad Hair Day (2001): https://www.youtube.com/watch?v=3Z2dtkQ-V_Y
What Are Our Supports: The People’s Salon
Khan Lee and Andrew Lee,with artist-in-residence Francis Cruz
curator: Joni Low
June 26 – 29: 12:00 to 4:00 pm; June 30: 5:00 to 8:00 pm
Cathedral Square Park (Dunsmuir at Richards Street, Vancouver)
Saturday, June 30 closing performance: 8:30 – 10:00 pm
Andrew Lee, Khan Lee and Francis Cruz
Various visual scores.
Andrew Lee with Jeremy Schmidt brings sonic resonance to Khan Lee’s Red, Green and Blue. Played at sunset, this atmospheric composition expands the artwork as a theatre. Situated within the installation site, blending into the field of cones, performers draw audible complements to the inherent character of the immediate environment: buildings, traffic, people, noise, sky, water, wind and the artwork.
This site specific score is to be performed at 8:03pm Pacific Standard Time and completed by 8:57:pm which is sunset to sun down.
April 13th, 2017
Vancouver Art Gallery
Ascending: Black, White, and Brown, an installation featuring electric organs (Farfisas, Galantis, Wurlitzers) that the two gathered ("free") from Craigslist and placed on a seven-step stage.
Once installed, the organs are plugged in and, as if to prompt the gallery-goer, objects are placed upon their keys. The result is a drone that begs to be broken, but like most of what passes for life these days, can only be augmented, diminished or suspended.
- Michael Turner
DAA presents Ascending: black, white, and brown, an exhibition by Andrew Yong Hoon Lee and Khan Lee.
Exhibition organized by Warren McLachlan
Sound and Light installation in the historic ALSCO building as part of ISEA 2015 (International Symposium on Electronic Art).
This mysterious fur vault of a commercial laundry facility has not been used for a very long period of time and never been open to the public, but has been kept as is since the last day of its service. With support of ALSCO textile service, One Twenty Three West, Steel Toad Brewery, and ISEA2015, the space was transformed into an intimate audio visual installation by Khan Lee in collaboration with a multi-channel original soundtrack by Andrew Lee.
Using simple interactive analog light control circuits with site-specific multi-channel musical composition by Andrew Lee, this installation celebrates moments from the past with voices of many current local musicians in the key of an "out of service but still operational dry cleaning machine" (approximately 493.883 Hz).
ISEA is one of the world’s most prominent international arts and technology events, bringing together scholarly, artistic, and scientific domains in an interdisciplinary discussion and showcase of creative productions applying new technologies in art, interactivity, and electronic and digital media. The event annually brings together artists, designers, academics, technologists, scientists, and general audience in the thousands. The symposium consists of a peer reviewed conference, a series of exhibitions, and various partner events—from large scale interactive artwork in public space to cutting edge electronic music performance.
In the last four years ISEA has been hosted in Istanbul (2011), Albuquerque, New Mexico (2012), and Sydney, Australia (2013), and Dubai (2014). ISEA2015 in Vancouver marks its return to Canada, 20 years since the groundbreaking first Canadian ISEA1995 in Montréal. The Symposium will be held at the Woodward’s campus of Simon Fraser University in downtown Vancouver with exhibitions and events taking place at Emily Carr University of Art + Design and many other sites and venues throughout the city.
The series of ISEA symposia is coordinated by ISEA International. Founded in the Netherlands in 1990, ISEA International (formerly Inter-Society for the Electronic Arts) is an international non-profit organization fostering interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and technology. ISEA International Headquarters is supported by the University of Brighton (UK).
The Perpetual Gong Machine Of Peace deploys multiple cymbals and gongs wired in an automated system to generate a meditative and temporal sonic landscape. Perpetual Gong Machine of Peace possesses neither a beginning nor an end; instead, it attempts to communicate the interstitial space of constancy and impermanence.
This work is an ongoing investigation of the temporal dynamics of music and language.
Exhibition photos from:
April 28, 2016
Centre A, 229 East Georgia St., Chinatown, Unceded Coast Salish Territories
The Grove: A Spatial Narrative
This multi-channel soundscape and visual narrative explores the community uses of a transient forest that abuts the Newton bus loop and Newton Recreation Centre in Surrey. The Grove has witnessed the extremes of human activity, from illicit transactions and tragedies to community connections over Sunday afternoon lunches and art interventions by a group of Newton neighbours who call themselves, “Friends of the Grove”. A handful of locals are reclaiming this public space and envisioning it as a site to engage passersby. Papalia, Dulai, and Lee delve into the multidimensional use of The Grove to tell its fascinating story through an immersive audio soundscape incorporating field recordings, spoken word, and musical elements. Presented as part of Open Sound 2015: Polyphonic Cartograph, a three-part exhibition featuring sound art as forms of mapping and counter-mapping.
The Grove: A Spatial Narrative
Andrew Yong Hoon Lee, Carmen Papalia, Phinder Dulai,
Artist Andrew Yong Hoon Lee has composed a visual score to be performed by a seven piece ensemble on a stage that is slanted towards the horizon.
Performed at the Nikkei Museum on January 31st 2015
Andrew Yong Hoon Lee performs a composition written for the shoppers of Kingsgate Mall in Vancouver BC Canada.
Western Front Artist in Residence Casey Wei, has programmed a month of events at nearby Kingsgate Mall throughout June. Wei will be participating in and documenting the Kingsgate Mall Happenings, footage from which will be made into a film about the Vancouver art and music scene, and the community of Mt. Pleasant. Kingsgate Mall Happenings is part of an ongoing conversation between Western Front, local artists and the Kingsgate Mall.
Telepathic Music for Piano and Strings
Inspired by the grand tradition of Viennese chamber music and marking the 185th anniversary of the legendary Bösendorfer Piano Company, Wiencouver X is a new work for piano and strings. While Hank Bull plays extended piano in Vienna, Andrew Lee, performs guitar and samples in Vancouver. Together they create an improvised composition. The piano sounds are taken from recordings made inside the Bösendorfer factory. Mechanical and electronic as well as musical, the contextual noise of a piano’s construction extends its range of expression, while the telematic connection stretches the harmonics of space.
Wiencouver is a virtual city somewhere between Vienna and Vancouver.
Sunday, 27. October 2013, 23:03 - 23:59
ART RADIO - RADIO ART
Live radio performance
Kunstradio, ÖRF, Vienna
Sunday, October 27, 23:00h – 24.00h (UTC +1)Listen online: www.kunstradio.at
Hank Bull has been a participant in radio and telecommunications projects since the late 1970s.
Andrew Lee is a musician and visual artist based in Vancouver Canada.
C Print. 30” x 30”
C Print. 30” x 30”
8” x 8”
By taking a frequency reading of the ambient sounds on 100 Block West Hastings Andrew Yong Hoon Lee has created a Quadratic Residue Diffuser to help create clarity and give space for the marginalized voices that normally are not heard in that particular city block in Vancouver.
Wood, Glue and screws.
80” x 140”
8 Channel Sound Installation
Is a site specific work comprised of a list made on sticky notes of words that Andrew Yong Hoon Lee can not say in Korean. For the installation, the artist created a perimeter of sticky notes around his childhood home in Richmond, BC Canada.
2.5” x 2.5”
Andrew Yong Hoon Lee and Jennifer Schine
At the Vertical City workshop, artist Andrew Lee and Jennifer Schine incorporated soundwalk as a way to navigate concepts of place and imaginability through the political and economic climate of Vancouver, with a specific emphasis on the site of SFU’s Woodward’s building. The idea of “vertical city” was explored by extending Michel deCerteau’s notion of “Walking in the City” to experience the neighbourhood as both walkers and listeners and the power dynamics of being above, below and on the ground. The artists constructed a sound chamber to house a composition made from recorded soundscapes by the participants as well as artists’ own material, where the notion of verticality is incorporated into the structure.
Special Thanks to the following workshop participants who contributed sound recordings, and without whom the exhibition couldn’t have been completed.
Vertical City: Katy Churche, Randy Lee Cutler, Brady Marks, Lara Szabo Greisman, Hua Phoebe Jin, Mhenowah Meyhar, Ian Lyle, Debbie Blair, Rene Baert, Joni Low, Benny Xu, Andy Liu, Cornelia Wyngaarden, Jacquelyn Ross
CO-LAB: A Workshop + Exhibition Project
Co-presented by Centre A and Vancouver New Music
Exhibition: July 16 – August 20 at Centre A
Opening: Friday, July 15, 8pm
Closing potluck and catalogue launch: Saturday, August 20, 3-7pm
Artists: Julie Gendron & Emma Hendrix, Germaine Koh & Gillian Jerome, Andrew Lee & Jennifer Schine
Curator: Debra Zhou
Centre A is pleased to present the exhibition component of CO-LAB.
CO-LAB is a cross-disciplinary workshop and exhibition project that focuses on sound, collaboration and the gallery’s physical location. The project brings together a group of Vancouver-based artists from diverse backgrounds to design four projects that incorporate the workshop format and invite public participation. The workshops took place from May to July 2011. The artists/workshop leaders developed experimental models of collaboration with more than seventy participants in total. Each workshop offered an introduction of the project and background research, followed by hands on practice and a collective art making process. The participants not only shared the innovative learning experience but also contributed recorded material for the artwork. The initiation of the workshops is inspired by Jaques Attali’s notion that sound, the organization of noise, is more than an object of study. It is a way of perceiving the world and it reflects the manufacture of society.
The exhibition features the three new works based on the workshop: Noise/De-noise by Julie Gendron and Emma Hendrix, Map Sense by Germaine Koh and Gillian Jerome, and Vertical City by Andrew Lee and Jennifer Schine.
30” x 30”
Mercure (Mercury, or The Adventures of Mercury) is a 1924 ballet with music by Erik Satie. The original décor and costumes were designed by Pablo Picasso and the choreography was by Léonide Massine, who also danced the title role. Subtitled "Plastic Poses in Three Tableaux", it was an important link between Picasso's Neoclassical and Surrealist phases and has been described as a "painter's ballet."
30” x 30”
30” x 30”
In 1921 Picasso painted "Three Musicians" which is a painting done in a cubist style. The three figures in the painting have been interpreted as a harlequin, a pierrot and a monk. Supposedly the figures in the paintings were stand ins for real people - the harlequin often representing Picasso himself.
This photo is of an assemblage of a sculpture that can be read as formal and figurative but is also a translation of that sculpture. I was interested in how music and the act of being a musician is often a social identifier. The guy on the subway carrying the guitar case signifies a musician and someone with gold plated records on the wall is a recording artist.
14” x 17”
This photo is comprised of a scan of a phone. The phone displays images of a Rollieflex Twin Lens Reflex camera that has been photographed as a sculpture.
The Rollieflex camera has two objective lenses of the same focal length. One of the lenses is the photographic objective or "taking lens" (the lens that takes the picture), while the other is used for the viewfinder system which is what the operator would use to "perceive" of the subject matter in front of the camera.