Multispecies Clouds
Special Public Program： “Meshwork”
2022.12.27 Tuesday
“Meshwork” is a special public program throughout the course of “Multispecies Clouds,” consisting of forums, lectures, conversations, podcasts, screenings and book clubs.
“The metaphor of ‘meshwork’ refers to how individuals and knowledges are entanglements; they emerge through encounters with others – as ‘lines of becoming’, they are not pre-existent, self-contained and separate entities.”(Tim Ingold) As Ingold points out, this notion describes how we build connections through encounters and contacts, and thus form the intersecting courses of action in personal, intellectual, and interdisciplinary research activities. Like “Multispecies Clouds,” “Meshwork” as a metaphor is also a way of "storytelling," a way of unfolding the emergent, the fluid, the contingent, the historical, and the narrative “lines of becoming”. We will invite practitioners from various fields to participate in this “entanglement” and to work together to create new indeterminate networks.
About the Project Curator: Yang Beichen
Dr. Yang Beichen is a researcher and a curator based in Beijing, China. He is the director of the MACA (Beijing), and one of the members of the Thought Council at the Fondazione Prada (Milan, Venice).Currently teaching at the Central Academy of Drama, his research examines the agency and potentialities of the moving image in the context of contemporary technology and ecology, deploys media archaeology as a radical framework to excavate alternative modernities, and ultimately aims to re-interpretate history and geopolitics from a New Materialist standpoint. His curatorial practices grow out of and attest to his multidisciplinary academic approaches. Notable curatorial projects include “New Metallurgists” (Julia Stoschek Collection, Düsseldorf), “Micro-Era” (Kulturforum, Berlin), the Guangzhou Image Triennial 2021 "The Intermingling Flux" (Guangdong Museum of Art, Guangzhou), “A MOON WRAPPED IN BROWN PAPER” (Prada Rong Zhai, Shanghai) , etc. Between 2019 and 2021, he also led a three-year research project focusing on the art of moving image in China at the NCAF, for which he curated three research-based exhibitions: “Anti-Projection: Media Sculptures in Early Chinese Video Art”, “Embodied Mirror: Performances in Chinese Video Art”, and “Polyphonic Strategies: The Moving Image and its Expanded Field”. He has also contributed critical essays for the catalogues of the artists such as Cao Fei, Laure Prouvost, Omer Fast and HO Tzu Nyen, etc. His academic monograph “Film as Archive” will be published soon.
