About escdotdot

Researching contemporary art, sound, and experimental music in China. Living in Hong Kong. With a PhD from Hong Kong Baptist University, Academy of Visual Arts.

Interview with Kit Chan at Islander’s Space

Introduction

This blog post marks a return to the originally intended subject matter of my recently-completed PhD – that being a study of the physical spaces for the performance of experimental music and sound art in China. Such was my original direction, before the outbreak of COVID-19 forced performance spaces to close (temporarily or, in some cases, permanently), and all public gatherings to be restricted, a situation which led me to consider live-streaming as a space of performance for many of the same artists under these conditions. So here we are, in the long-tail of COVID-19, and while in the near future I plan to return to Mainland China to resume my fieldwork, in the meantime there are spaces in Hong Kong, where I live, that I can learn from.

The interview below stemmed from my first visit to Peng Chau, one of the outer islands of Hong Kong and an hour’s ferry trip from the main urban area of the city. That trip was for a performance by Karen Yu and Olivier Cong, part of a series of experimental music events organised by the musician Nelson Hiu and hosted by the Islander’s Space bookshop. Through Nelson I contacted Kit Chan, one of the owners of Islander’s Space, and had a conversation with him about the space and its relation to the performance of experimental music, and the island’s overall social dynamic. Many thanks to Kit for his time and patience on this.

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interview with Zhou Pei aka Ronez

Portrait of Zhou Pei

Back in 2003, in an ecstatic review of the Sounding Beijing festival for The Wire magazine, Steve Barker wrote about a “stone-killer electro-nerd star” named Zhou Pei , and in 2017 Yan Jun’s history of experimental music in China recorded that Zhou’s music was “amateur electronica/avant-pop” . Zhou has therefore been active since the very early days of experimental electronic music in China, and continues to perform and release material under a series of artist names, including Ronez, Karassage, and OddChordSpace, reflecting the diverse styles of sound he is producing. Zhou, however, still considers himself an “outsider” artist, living in Guilin city, in South China’s Guangxi Province, away from the major conurbations where experimental music has usually been found in China, so I got in touch with him by email to ask about his music and life in experimental music.

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Silence or Circumspection in Sound Practices in China

Author: Edward Sanderson

Abstract

In this text I will be arguing for the significance of silence or circumspection as a form of active disengagement. In particular I will be looking at this as an artistic tactic, focusing on sound art or experimental music practices that display such tactics as a matter of choice or necessity. These forms of practice will be related to historically situated practices that have taken various approaches to avoid confrontation while nevertheless asserting their presence in relation to specific social issues. I will be proposing that such practices institute new relationships between an artist and their audience that may open up the potential for new social and political effects.

Keywords

Sound art, experimental music, pragmatism, withdrawal.

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Interview with Sun Dawei

Today I’m really pleased to follow up my interview with Wang Menghan that came out a few days ago, with a short interview with Sun Dawei, one of the most influential experimental electronic musicians out of China. Sun Dawei started producing music in his hometown of Beijing in the late 1990s, emerging from a punk background to become a full-fledged electronic musician by the early 2000s. At the same time he founded the record label Shanshui, which continues to be a great resource for experimental electronic music. Early on he became internationally known for his chiptune/8bit releases and performances under the artist name SULUMI, but his music has always been diverse, moving into the fields of electronica, techno, or ambient, reflected by the particular artist name he used. In 2010 he moved to Osaka, Japan where he has continued producing music. He was recently back in Beijing to take part in a residency at the M WOODS Art Museum, with a number of other contemporary artists from China, responding to the Museum’s current show of Buddhist cave paintings from the Xinjiang region of China. The following interview was done by email, and I want to thank Dawei for being so accessible. In the near future I hope to be able to present a more detailed interview with him, so keep checking back!

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