I’ll be giving one of the Vox Pop Video addresses for Global Landscape Forum in Kyoto as are some pretty incredible people. I’ll be presenting my work on climate change, specifically The Apocalypse Project and Wild Science bodies of work. I created one video especially for Letters for Science, where I invite the public to write letters to science denialists. Thank you especially to China Residencies and KulturKontakt Austria whose residencies gave me time, space, and networks to reach out to people, as well as Mrs. Eva Heider-Stadler in Eferding and Ms. Allison Cusato in Beijing and their students who participated in the first workshops, and to all the other institutions and individuals who have supported these projects.
I dedicate these to the climate change deniers, anti-vaxxers, and moon landing truthers of my life. You guys inspire me so.
(BEIJING, China) – On March 16th, I was invited to give a talk at Global Shapers Beijing (Hub 2) for their Eco Art Challenge. I spoke about my work and, more importantly, about what I learned, my triumphs and failures with my Year for the Planet personal challenge. Other speakers included Break Free from Plastic China and Eric Lau. Afterwards, the participants created a whale sculpture made of plastic trash and embarked on a 7-day plastic-free challenge—a very difficult thing in Beijing, where plastic seems to weed its way in places you did not think it would.
I talk art, science, Beijing apocalypses, and taekwondo (among other things) in this rad interview with Dr. Amy Brady of Guernica Magazine and the Chicago Review of Books for her monthly “Burning Worlds”! Here I mentioned the fellowships I just concluded and will continue and how they have shaped my practice, in Beijing with China Residencies and Red Gate Residency, Southeast Asia with Mekong Cultural Hub, Vienna with KulturKontakt Austria, and Berlin with Haus der Kulturen der Welt. Thank you very much!
C-Platform, a culture and art research and curatorial organization focusing on current trends and future concepts in the realm of mixed media based in Xiamen, China, profiles The Apocalypse Project series. Many thanks to all the residencies and grants that have supported this work. I trace my Chinese half from Xiamen so this is quite special for me, indeed. Xie xie!
I just wrapped up a fellowship with the Haus der Kulturen der Welt’s (Un-)Learning Place! These were five wonderful days with fantastic people from around the world challenging institutions, our assumptions, realities, etc. Many thanks to HKW and the facilitators of our track, Spaces of Theory, including diffrakt: center for theoretical periphery and raumlabor berlin! Here’s a collection of my thoughts via my Instagram account:
(BERLIN, Germany) – Guten Tag! I’m honored and excited to be one of the selected fellows for The (Un-)Learning Place, a program by the Haus der Kulturen der Welt. What a great start to 2019 and how fitting having just been immersed in anthropogenic food futures, sustainability and decolonization with China Residencies and Mekong Cultural Hub / British Council this past Fall. I’m in Track 5 on Space/Theory. I can’t wait to be back in Berlin, one of my favorite cities in the world! Let’s take this on. See you soon!
From the program text by HKW:
The present is characterized by a crisis of the established epistemic-political order. Outdated categories and terms no longer function. Representational logics fail to grasp the complexity of contemporary phenomena and increasingly global societies, whose change is accelerated by digital infrastructures. In this situation, it is necessary to unlearn established modes of referring to the world and to rethink methods of constructing, situating and criticizing reality.
During the Opening Days of HKW’s new long-term project The New Alphabet , HKW will set up a unique space for gathering, discussion and workshops—a unique (Un-)Learning Place curated by Boris Buden and Olga von Schubert. In the five-day curriculum international participants are invited to take part in (Un-)Learning Tracks to work with curatorial, artistic, or activist strategies in close collaboration with self-organized research collectives and independent artists, researchers and curators.
How do the cultural techniques of archiving, integrating, and classifying transform archived knowledge from within? Can the necro-aesthetics—the presentation of dead beings—in Natural History Museums be reframed by changing museum taxonomies? How do body molecules tell stories of their century-old political suppression and how can they be reread? What are modes of resistance in digital network cultures and how is it possible to navigate through increasingly opaque streams of data and information? What would spaces of learning and unlearning look like in a world permeated by institutional infrastructures of dominance and cultural supremacy? How can a library of African diasporic writing be cataloged without reproducing oppressive categories? And what role does our understanding of the workings and logics of theory and its institutional practice play within?
In five (Un-)Learning Tracks the (Un-)Learning Place seeks out strategies to navigate through the inherent classification and ordering systems of archives, libraries, museums, institutional architectures, and digital networks and offers approaches to situating, negotiating and ‘(un-)learning’ research in artistic, site-specific, poetic, and bodily practices. Together with eight independent curatorial, activist or artistic collectives, and invited guests, the (Un-)Learning Place offers its 80 international participants the opportunity to investigate new strategies for interdisciplinary research and potential crossdisciplinary collaborations in the fields of Translation, Digitality, Archiving, Embodied Infrastructures as well as the Politics of Space and Theory, in order to challenge established perspectives and collectively develop ways of restructuring the order of things.