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 appears 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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Critical Music series: Interview with Sheng Jie (part 2)

This is the second and final part of the interview with Sheng Jie (aka gogoj), discussing her activities as a visual artist and experimental musician in China. Link to the first part of the interview.

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Critical Music series: Interview with Sheng Jie (part 1)

This is a new series of posts for this blog focusing on individuals, groups, or organisations that have played notable roles in the history of critical music practices in China. These practices appears in many different guises, often described as “experimental music” or “sound art”, neither of which 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.

Sheng Jie (aka gogoj) is a visual artist and musician based in Beijing. Much of her current experimental music and sound work reflects her study of the violin and cello, as well as of video and performance art. Since returning to Beijing from college in France in 2005, she has been developing various forms of audio/visual performance using these elements. Recently she has begun incorporating a gesture-based computer interface that allows her to “manually” manipulate her video and audio signals on stage. In this interview she talks about her practice and how it has developed, her relationship with the music and art worlds in Beijing, and why she adopted this gesture interface. The interview covers a lot of ground, and so has been split over two days for convenience. Part two will be published on this blog tomorrow.

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REVIEW: MIJI Concert #39 at Meridian Space 21/9/16

This review was originally published in Chinese on the Sub Jam wechat account, on the 30th of November 2016. Thanks to Yan Jun and Yan Yulong for their support, and to 白杨 and 黄山 for translation.

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For the experimental music community in Beijing, each month holds the promise of another MIJI Concert. Organised since 2011 by various members associated with the Sub Jam record label, MIJI Concert is now in its 39th edition. This event has managed to survive in a city that has become less than fertile ground for experimental creative productions over the past few years with the closure of a number of venues that would host such events; MIJI is now one of the few regular events for such practical research into sound and music. Since edition 18 MIJI has found a home at the Meridian Space, located in a small creative cluster behind the National Art Museum of China not far from the Forbidden City in central Beijing. The long, thin, upstairs room in which it takes place is perhaps inhospitable for regular styles of performance, but within an experimental context provides an ideal foil for the artists. The quality of the space helps to work against divisions between performer and audience, so the physical relationship between them is always under negotiation – dependant on things like the equipment being used, the style of performance, and the nerve of the audience members. Last week’s MIJI Concert 39 was a case in point, with four pieces making various uses of the space, setting up different experiences of the performers’ relationship between themselves and with the audience.

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MIX: Experimental Sound from China

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

UNCUT TALKS: Three Interviews with China’s sound workers

Over the past few weeks I’ve begun a series of interviews for the “Uncut Talks” sound magazine, a project initiated by the artist Ma Yongfeng of forget art. At this point I thought I would pull together the first three interviews which (coincidentally) have all been with Chinese sound artists and musicians. Future interviews will venture into other creative fields. Ma Yongfeng and the Italian curator and artist Alessandro Rolandi have also added their own interviews to the Uncut Talks site, so please take a moment and check them out, I think there is something for everyone there!

Yan Jun talks about his “Living Room Tour”:


Sheng Jie (gogo) talks about her audio-visual practice:


VAVABOND (Wei Wei) and Li Jianhong talk about improvisation: