〈This is no country music〉, 2019, workshop, multi-media installation. Dimensions variable, Courtesy of the Artist
Location National Taichung Theater & Chingshui
〈This is no country music〉, 2019, workshop, multi-media installation. Dimensions variable, Courtesy of the Artist Location National Taichung Theater & Chingshui5
This is no country music
This is no country music traces the musical trajectory of Taiwan-born composer, Koh Bunya. It positions a listening/feeling prism onto the geopolitical time-space of the 1935 Hsinchu-Taichung Earthquake. At the invitation of Taiwan People News, Koh Bunya composed the Earthquake Relief Song for a relief concert soon after the natural disaster. Taking this lost Earthquake Relief Song as a point of departure, Wang’s work attempts to traverse geology, catastrophe, body, society, and history. The project scours the archive not only for historical seismic data, but also written and oral records of mutual aid and survival strategies, modern paradigms of seismic monitoring, and technologies of colonial governance. The question is: how to record a “seismographic reading, drawing and exposing the fault lines” of the earth as well as the entanglements between human ideologies “that a largely normal surface had hidden?” (Edward Said, 2007). In the process of probing, it seeks to collectively imagine a kind of apparatus constructed beyond the binaries of human/nature, nation/state, science/humanity, or human/nonhuman as defined by global modernity — creating something perhaps like a speculative seismographic hybrid.
About the Artist
Born in Huwei, Taiwan, Wang Hong-Kai’s research-based practice confronts the politics of knowledges lost in colonial and diasporic encounters at the intersection of lived experience, power, and “listening”. Through experimental modes of sonic sociality, her multidisciplinary work seeks to conceive of other time-spaces that critically interweave the production of desire, histories of labor, economies of co-habitation, and formations of knowledge.
Wang has presented her practice internationally at Theater Commons Tokyo 2019, Sculpture Center New York, dOCUMENTA 14, Taipei Biennial 2016, Liquid Architecture, Museum of Modern Art New York, among others.