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Echo Ho, Birgit Hopfener: Echo Ho in conversation with Birgit Hopfener. Art as Interface
Echo Ho in conversation with Birgit Hopfener. Art as Interface
(p. 133 – 143)

Echo Ho in conversation with Birgit Hopfener. Art as Interface

Echo Ho, Birgit Hopfener

Echo Ho in conversation with Birgit Hopfener. Art as Interface

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Echo Ho understands her artworks as sites of questioning cultural identity. In conversation with the art historian Birgit Hopfener, the artist elaborates on how her contemporary perspective is a critical examination of aspects of traditional Chinese aesthetics and philosophy. Central issues are the exploration of the Daoist concept dao, which is based on a definition of world conceptualized as an autopoetic transformational event. Furthermore Echo Ho inquires the effects of a modular structure of meaning production, which has been constitutive for many cultural practices in China and above all for the Chinese script.

  • perception
  • knowledge
  • artistic research
  • art
  • experiment

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Echo Ho

born in Beijing, lives and works in Cologne. Her work ranges from audio/video installations and sound art interventions to live intermedia performances. It focuses on migrational contexts and conceptual links of culturally diverse materials and artistic disciplines. She was a fellow at the Graduate School for the Arts and the Sciences at the Berlin University of the Arts from 2011 to 2013. From 2007 to 2013, she taught sound and electronic media as assistant professor at the Academy of Media Arts Cologne.

Birgit Hopfener

is an art historian and sinologist. She has worked as adjunct professor for Art Histories of China at Universität Heidelberg and assistant professor at the Department of East Asian Art History at the Freie Universität Berlin. She is a researcher at the Department of East Asian Art at Freie Universität Berlin. Additional to her scholarly work she works as a curator and art critic.

Susanne Stemmler (ed.): Wahrnehmung, Erfahrung, Experiment, Wissen

Wissenschaftsnahe Arbeitsweisen von Künstlerinnen und Künstlern – oft als »künstlerische Forschung« bezeichnet – werfen Fragen der Produktion, des Teilens, des Dekonstruierens und der Wiederaneignung von Wissen auf. Verhältnisse von Objektivität und Subjektivität sind dabei stets untergründiges oder auch explizit angesprochenes Thema: Während von »den Wissenschaften« oft noch eine »objektive« Herangehensweise erwartet wird, reklamieren die Künste die Freiheit und das Recht auf »Subjektivität«. Es ist aber genau der schmale Grat zwischen diesen beiden Extremen, auf dem Definitionen künstlerischer und wissenschaftlicher Praktiken ausgehandelt werden. Der Band versammelt Positionen von Expertinnen und Experten aus Wissenschaften und Künsten sowie von Künstlerinnen und Künstlern zu diesem Thema.

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