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.
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 sixth interview in this series, and the last for a while. It’s a real pleasure and an honour to be able to publish this interview with Li Jianhong and Wei Wei, the couple who in their various ways have been central figures in the experimental music scene in China for many years. Originally from Hangzhou, Li and Wei Wei were both involved in the music scenes in that city before coming to Beijing around 2011. Since then they have been highly visible with their solo projects as well as performing together under the names Mind Fibre and Vagus Nerve. This interview concentrates on their early musical development, the 2pi Festival that Li founded in Hangzhou in 2003, and their thoughts about improvisation and the state of the experimental music scene in Beijing.
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: