Monthly Archives: July 2013

MIX: Experimental Sound from China

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As my own contribution to World Listening Day (tomorrow, July 18 2013), and at the invitation of Jason Coburn at 8trk radio, I’ve put together a mix of recent work by some experimental musicians and sound artists in China. The sounds require a commitment of time and patience, but I hope you can take an hour out of your day to listen, as this selection rewards sustained listening!

Track list:

  1. 01, V0, by Yan Jun (2011) (performance at Observatori Festival in Valencia, 2011, taken from the CD v, released on Kwanyin Records http://www.subjam.org/archives/1401)
  2. Solo at D22, by Sheng Jie (2010) (unreleased) http://sgogoj.com/
  3. 系统的二次方_三影堂现场录音, by Soviet Pop (2013) (unreleased) http://sovietpopbeijing.bandcamp.com/
  4. KG, by Li Jianhong (2012) (taken from the CD compilation Noise, released on Kwanyin Records http://www.subjam.org/archives/2193)
  5. Sedna, by VAVABOND (2011) (taken from the CD Yellow, released on Kwanyin Records http://www.subjam.org/archives/1208)
  6. 03, by Yang Tao (2010) (unreleased)
  7. 001, by Damage Blanket (2013) (unreleased, includes a sample from Breathe by Holly Herndon) https://soundcloud.com/damageblanket
  8. OP27, by jfi (2012) (unreleased) http://www.douban.com/people/jfi/

8trk.15 Guest Mix by Edward Sanderson (China Experimental) by 8trkradio on Mixcloud

ArtSlant: Let no one untrained in geometry enter.

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What A Form – A Reportage: Wu Shanzhuan & Inga Svala Thórsdóttir

Shenzhen OCT Contemporary Art Terminal (OCAT), Building F2, Enping Road, OCT, Nanshan District, Shenzhen

21 May – 21 July, 2013

Wu Shanzhuan & Inga Svala Thorsdottir, What a Form installation view, 2013

How far do we pursue the artists’ conceptions in their work, following the lead they provide, making an assumption that the work wishes to communicate with its audience? If the work proves too difficult to relate to, or reticent in its engagement with the audience, where do we draw the line past which we are unwilling to go in our investigation of the work?

At OCAT in Shenzhen, Wu Shanzhuan and Inga Svala Thorsdottir present two rooms holding large-scale, but simple in form, installations. These are accompanied by a series of 9 drawings on A4 sheets of gridded paper showing the progressive development of the forms used in the installations. These works follow on from previous presentations of the artists’ personal theory of forms, in this case focusing on a composite form which they call “Little Fat Flesh,” which is a combination of multiple arcs of circles, forming a unique shape, somewhere between a circle and a square.

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