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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