I am fleeing.
I might return.
I was watching a bird feeder/carer in Washington square park Lenape land surrounded and guiding a flock of pigeons, but now I’m on the plane to Mexico city. A flock of bird in another bird, a flock of bird spinning, dropping, leaking, dismantling
Loren Yuehan Wang are a transdisciplinary artist and autonomous researcher who are persistently digging into slippages inside ecological aftermath, linguistic, and audio-visual technology. They don’t create works - “material as evidence” was already in process of arrangement.
As multitudinous evidence residing in an ever porous body, their sensory organs are exposed, shedding from skin, rubbing roughly with forced displacement.
Their queer body becomes the bio-hackable interface between instruments utilized to perform colonial erasure and their performative practices of reorientation to imagine epistemic possibilities.
Narratives and knowledge systems are being interrogated through interactions. This “material-discursive”1 engaged evidence will not ask for representation, either will be called into court to convict nor prove innocence. They symptomize geopolitics violence as affective & infective intensity and manifest it in collective antagonistic social relationships.
They are expected to receive BA from Wesleyan University in 2025 in Art Studio with Certificate in Social, Cultural, Critical Theory.
Their first solo exhibition in 2024 was commissioned by the Center for the Arts & College of East Asian Studies at Wesleyan University “Exploding and Netting: A Somatic Archive of Transpacific Movement” at the Gallery of Mansfield Freeman Center in Connecticut.
They are part of the cohort in SOMA Summer Residency 2024 in Ciudad de México, México.
1. an inaccurate, twisted, and blurry tribute to Karen Barad
I might return.
I was watching a bird feeder/carer in Washington square park Lenape land surrounded and guiding a flock of pigeons, but now I’m on the plane to Mexico city. A flock of bird in another bird, a flock of bird spinning, dropping, leaking, dismantling
being hunted
It would be limiting to only consider the plane as the body enclosed in steel in the sky (above the clouds). The plane never really takes off from the ground. The rope is tied in between the horse’s legs, jogging not rushing.
I need to talk about the suspension as it is the only status around me. The temporary collective of bodies sharing violence of displacement
not a pause when we fly
Loren Yuehan Wang are a transdisciplinary artist and autonomous researcher who are persistently digging into slippages inside ecological aftermath, linguistic, and audio-visual technology. They don’t create works - “material as evidence” was already in process of arrangement.
As multitudinous evidence residing in an ever porous body, their sensory organs are exposed, shedding from skin, rubbing roughly with forced displacement.
Their queer body becomes the bio-hackable interface between instruments utilized to perform colonial erasure and their performative practices of reorientation to imagine epistemic possibilities.
Narratives and knowledge systems are being interrogated through interactions. This “material-discursive”1 engaged evidence will not ask for representation, either will be called into court to convict nor prove innocence. They symptomize geopolitics violence as affective & infective intensity and manifest it in collective antagonistic social relationships.
They are expected to receive BA from Wesleyan University in 2025 in Art Studio with Certificate in Social, Cultural, Critical Theory.
Their first solo exhibition in 2024 was commissioned by the Center for the Arts & College of East Asian Studies at Wesleyan University “Exploding and Netting: A Somatic Archive of Transpacific Movement” at the Gallery of Mansfield Freeman Center in Connecticut.
They are part of the cohort in SOMA Summer Residency 2024 in Ciudad de México, México.
1. an inaccurate, twisted, and blurry tribute to Karen Barad