Critical Music 5: Interview with Ambra Corinti and Rong Guang Rong

Critical Music series: This series of posts focuses on individuals, groups, or organisations that have played notable roles in the history of critical music practices in China. These practices appear in many different guises, often related to concepts such as “experimental music” or “sound art”, although neither term is entirely satisfactory in describing the practices which often exist in many hybrid forms. My adoption of the term “critical music” (following the writings of G Douglas Barrett) attempts to avoid the limitations of these terms, while highlighting the active nature of the sound component of the practices. These posts will primarily take the form of interviews, each one aiming to place the subject within the general history of critical music practices in China, and contextualise their current practice within their overall development.

Welcome to the fifth interview in this series. This is an interview with Rong Guang Rong (A Rong) and Ambra Corinti. In 2010 A Rong and Ambra founded Zajia in Beijing, an influential arts space and bar in the Gulou – a very traditional urban area in the centre of town, characterised by the network of hutong (thin alleyways surrounding the imperial palace in central Beijing). For Zajia, these hutong provided an everyday community setting far from the more or less segregated art districts of Beijing. Zajia became an important hub for experimental music performances, amongst many other things. Its story demonstrates how such physical venues appear and survive, and ultimately how they reach the end of their lives – giving insights into many aspects of how the community and infrastructure for critical music is developing in China. In the latter part of the interview A Rong talks about his activity as a documentary film-maker. He recently won an award at the Rotterdam International Film Festival for his most recent film, and he has various ongoing documentary film projects that will survey experimental music and sound practices in China.

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Critical Music 4: Interview with Zafka (Zhang Anding) (part 2)

Welcome to the second, and final, part of this interview with Zafka (Zhang Anding). Here he discusses China Youthology, the brand consultancy he co-founded, as well as his involvement in Yao Dajuin’s Revolutions Per Minute exhibition of sound art in China, working with the rapper J-Fever, and his recent performance with Sheng Jie for the Pixel Echo series of concerts. Finally Zafka discusses his thoughts on the political significance of sound and the current state of experimental sound in China.

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Critical Music 4: Interview with Zafka (Zhang Anding) (part 1)

Critical Music series: This series of posts focuses on individuals, groups, or organisations that have played notable roles in the history of critical music practices in China. These practices appear in many different guises, often related to concepts such as “experimental music” or “sound art”, although neither term is entirely satisfactory in describing the practices which often exist in many hybrid forms. My adoption of the term “critical music” (following the writings of G Douglas Barrett) attempts to avoid the limitations of these terms, while highlighting the active nature of the sound component of the practices. These posts will primarily take the form of interviews, each one aiming to place the subject within the general history of critical music practices in China, and contextualise their current practice within their overall development.

Welcome to the fourth interview in this series. Today I am honoured to be able to publish the first part of an interview with Zafka (Zhang Anding), an experimental musician, sound artist, and founder of the brand consultancy, China Youthology. Zafka’s story takes us from the early practices of experimental music and sound art in China in the late ’90s, his first bands through to his investigations of field recording to tap the political power of sound, and his more recent work on sound in relation to social media and online platforms. Over the years Zafka has been involved in many of the important festivals and exhibitions related to sound art held in China, including Revolutions per Minute, Get it Louder, Mini Midi, and Pixel Echo, and in this interview provides a critical perspective on a wide range of aspects of the development of sound practices there.

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mattin on improvisation

“Today, our crisis is not only an economic one but also a cultural one. If there is a practice that should acknowledge this, and be able to take this crisis as potential in its extreme fragility, it is improvisation. Out of this it will need to generate a form of agency that goes beyond the improviser’s self. It could resemble the general intellect that Théorie Communiste mentions, one that constantly questions its own parameters and undermines its own conventions without shying away from confrontation. Rather than experimenting with instruments it would be experimenting with our own selves, material conditions and broader social relations. This negative improvisation would accelerate situations to the point of mirroring our impossibilities and our limitations by producing situations where one is confronted with the negativity of our times. Out of this negativity this improvisation will try to generate a form of agency that would link freedom with collective rationality rather than with individual expression.”

—Mattin, “Improvisation and Communization”. In Marysia Lewandowska and Laurel Ptak (eds.), Undoing Property? (Berlin: Sternberg Press, 2013), pp.53–67.