Based in Taipei, Taiwan, her research based practice confronts the politics of knowledge lost in colonial and diasporic encounters. Through experimental modes of sonic sociality, her multidisciplinary work seeks to conceive of other time-spaces at the intersection of lived experience, power and ‘listening’. Wang’s work critically interweaves the production of desire, histories of labor and economies of cohabitation. She has presented projects at Asia Art Biennial 2019; Theater Commons Tokyo 2019; Sculpture Center New York; documenta 14; Taipei Biennial 2016; Liquid Architecture; and the Museum of Modern Art.
Bill Dietz is a composer and writer, born in Arizona. His artistic and theoretical work centers on reception, specifically on listening – its histories, forms, and performance. The work is often presented in festivals, museums, and academic journals, but also in apartment buildings, magazines, and on public streets. In 2013 he co-founded Ear│Wave│Event with Woody Sullender. He has published two books of listening scores – one on his “Tutorial Diversions” series, meant to be performed at home; and the other, made up of “concert pieces,” based on historical and contemporary audience behavior and staging. With Amy Cimini, he co-edited, “Maryanne Amacher: Selected Writings and Interviews” (2020). A theoretical book, “Universal Receptivity,” co-authored with Kerstin Stakemeier, was released in 2021. Since 2012, he is co-chair of the Music/Sound Department in Bard College’s Milton Avery Graduate School of the Arts.
Övül Ö. Durmusoglu is an independent curator, educator and writer, currently guest professor and program co-leader in the Graduate School, UdK Berlin and visiting professor in the HBK Braunschweig. Focused on the intersectional narratives around contemporary political subjectivities, she acts between singular languages and collective energies, worldly immersions and historical cosmologies. Övül has recently co-curated 3rd AUTOSTRADA BIENNALE in Kosovo, 12th Survival Kit Festival in Riga, Latvia and “Die Balkone: Life, Art, Pandemic and Proximity” in Berlin (2020-21) with Joanna Warsza. In the past, she was curator at Steirischer Herbst; co-curated different sections of 10th, 13th and 14th Istanbul Biennials; and organised Public Programs for dOCUMENTA (13), among others. She is engaged with CA2M Madrid, Kunsthalle Wien and Martin Gropius Bau for her future projects.
Shuwen Hu is a writer based in Taipei, Taiwan. Her works includes a collection of short stories Sorrowful Allure is the Childhood, and the novel The Sun’s Blood is Black. From 2018 to 2020, she co-published with fellow novelists a collection of experimental short stories L’abécédaire de la littérature: A-Z. She edited and co-authored The Undeliverable Last Letters (2015), which records the wills, and letters of the White Terror political prisoners. In addition, with Tung Wei-Ge, she co-edited Let the Past Be the Present (4 volumes), and Souls & Ashes: Collection of Taiwan White Terror Prose (5 volumes). She is currently working on two projects, respectively focused on “aesthetically deconstructing the #metoo movement” and “reconstructing the White Terror in Taiwan.”
Darla Migan, Ph.D. is an art critic and philosopher based in New York City. Her research takes up an interdisciplinary approach to the study of ethics and aesthetics wherein to do philosophy also means learning from artists. She has been invited to participate in discussions with artists at UCLA, the Städelschule, and Parsons; written gallery essays in support of emerging artists in Berlin and New York; lectured on the distribution and circulation of images in post-internet aesthetics at the American Society for Aesthetics; and published reviews of group shows as well as solo exhibitions by Faith Ringgold and Akeem Smith. Currently, she is a fellow in Critical Studies at the Independent Study Program of the Whitney Museum of American Art. Darla’s criticism on contemporary art and its market can be read in Art in America, Artnet News, ARTNews, The Brooklyn Rail, CulturedMag, Spike Art Magazine, Sugarcane Magazine, and Texte zur Kunst.
October 26–December 7, 2019
Performative Lecture: ‘This is no country music’
can be seen here via the Recollective: Vancouver Independent Archives Week site.
Friday, November 1, 6pm
Narrated by Nadya Isabella, Aubin Kwon and Julia Dahee Hong.
Hong-Kai Wang’s exhibition Quivering is a continuation of her work through experimental modes of sonic sociality. Wang describes Quivering as an open rehearsal, where the collective body becomes a conduit and site through which knowledge is produced, and the aggregate of small affinities becomes consequential. Operating on several different registers, ‘quivering’ – bodily, socially, politically, and geologically, Wang’s works are propositions that offer possibilities for a ‘choreography of survival’.
The exhibition will include two of Wang’s previous works, Hazzeh, developed in Amman Jordan (2019) and a performance lecture This is no country music (Asia Art Biennial, 2019; Taichung City, Taiwan). Hazzeh, which means quivering/shaking in Arabic, speaks not only to the history of land dispossession in the region of Jordan and Palestine, but also to seismic/tectonic histories and geological time. The project convenes a group of women performers as they navigate between Jordan and Palestine. Utilizing Wang’s open rehearsal technique, tracing fault lines of the region, they query modes of critical feeling, summoning rhythms and memories of that region. This is no country music takes the form of a performative lecture/collective listening session, around the work of Taiwanese composer Koh Bunya, particularly his Earthquake Relief Song. Born in 1910, Bunya’s practice developed between China and Japan. Having been born in Taiwan under Japanese colonial rule, and living in China as the People’s Republic of China was founded, Bunya’s work has come to embody the complexity of the deeply entangled history of this region.
Both Hazzeh and This is no country music grapple with lines of query around statelessness, borders, bodies and lived experience. Wang’s methodological approach engages voice, vibration, and practices of listening combined with geological histories of natural disasters. Geological time offers a depth, that requires a different comprehension of time, towards an immediate binary of human/non-human co-existence.
As an artist-in-residence at Artspeak, Wang will continue to build upon her research, developing methodologies that will take into consideration our location on the unceded territories of the Squamish, Musqueam and Tsleil-Waututh, and this region being situated on the Cascadia Subduction Zone, Pacific Ring of Fire. Working with a choir and members of the UBC Seismology department, Wang will trace points of convergence, of histories, fault lines, through a collective embodied praxis examining voice and vibration.
Hazzeh conceived of by Hong Kai Wang was commissioned by Mohammad and Mahera Abu Ghazaleh Foundation for Art & Culture.
Lyrics selected from ‘Palestinian Mournings’ by Hassan Atari
Made possible with the assistance of Moawiah Bajes, May Marie & Rea Zakhour
Performed by May Marie, Ghazal Awdeh, Henna Haj Hassan, Ibtisam Ahmad & Raheeq Hafez
Special thanks to Övül Ö. Durmusoglu, Qais Assali, Shuruq Harb & Hamze Al Aqrabawi, and for the generous support of the National Culture and Arts Foundation Taiwan, and Recollective: Vancouver Independent Archives Week.
November 1, 2019
Narrated by Nadya Isabella, Aubin Kwon and Julia Dahee Hong.
Photos by Sungpil Yoon
This is no country music takes the form of a performative lecture/collective listening session, around the work of Taiwanese vocalist and composer Koh Bunya, particularly his Earthquake Relief Song. Born in 1910, Bunya’s practice developed between China and Japan. Having been born in Taiwan under Japanese colonial rule, and living in China as the People’s Republic of China was founded, Bunya’s work has come to embody the complexity of the deeply entangled history of this region. This is no country music grapple with lines of query around statelessness, borders, bodies and lived experience. Wang’s methodological approach engages voice, vibration, and practices of listening combined with geological histories of natural disasters. Geological time offers a depth, that requires a different comprehension of time, towards an immediate binary of human/non-human co-existence.
This project was commissioned by the Asian Art Biennial and Tokyo Theatre Commons. The first iteration of This is no country music was presented at Theatre Commons Tokyo (March 2019). An iteration of this project is also included as part of the Asian Art Biennial: The Strangers from beyond the Mountain and the Sea, Taichung City, Taiwan (2019).
As an artist-in-residence at Artspeak, Wang will continue to build upon her research, developing methodologies that will take into consideration our location on the unceded territories of the Squamish, Musqueam and Tsleil-Waututh, and this region being situated on the Cascadia Subduction Zone, Pacific Ring of Fire.
*Recollective: Vancouver Independent Archives Week
This event is part of an ongoing series of Recollective: Vancouver Independent Archives Week. A series of free public events, panels, conversations, and screenings that highlight artist-run centre archives, artists working with archives, and the intersections between contemporary art practices and social movements in Vancouver and beyond.
In its 2019 programming year, Recollective will look beyond Vancouver to host a series of national and international presenters and respondents to examine these issues in a range of global contexts.
Special thanks to Dan Pon and Emma Metcalfe-Hurst.
Title: Violet Quartz
Series Title: Beacon – a series in ten issues
Artist: Hong-Kai Wang
Writers: Bill Dietz, Övül Durmuşoğlu, Darla Migan, Hu Shu-Wen, Hong-Kai Wang
Series Editor: Bopha Chhay
Design: Vicky Lum
Copyeditor: Gina Badger
Printed by: Metropolitan Fine Printers
Year Published: 2021
Dimensions: 15.2 x 22.9 cm
Edition of 300
Subscription: $100 – for ten issues
‘BEACON – a pamphlet series in ten issues’ focuses on how the commitment of artists’ to wider social movements informs contemporary artistic practice. The series will feature texts by artists whose practices engage with language and visual arts.