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 second interview in this series. Today I am honoured to publish the first part of an interview with Colin Siyuan Chinnery, the Beijing-based artist, curator, musician, and writer. In the early ’90s Colin and his band Xue Wei were part of the evolving music scene in Beijing, as artists pushed up against the boundaries of the then dominant rock ‘n’ roll. His interest in experimental music later led to his initiating the influential Sound and the City project with the British Council, which saw four experimental musicians travelling from the UK to Beijing to create sound projects there. The second part of this interview (to follow) will cover his more recent activities: his involvement with the Shijia Hutong Museum and the development of the Sound Museum, an entity investigating and exploiting the wider potential of sound.
