by Kyoo Lee<\/p>\n\n\n\n
First published in\u00a0Flash Art<\/em><\/a>, 24 June 2019<\/p>\n\n\n\n Chinese Translation<\/a><\/strong> by Huang Jingyuan<\/strong> and Liang Shuhan<\/strong> If writing is the mother of the comatose archive,<\/em> \u2014 Huang Jing Yuan, Right to Write<\/em><\/p>\n\n\n\n Tucked away in the left corner of the third floor of the Power Station of Art in Shanghai, between Francis Al\u00ffs\u2019s video Rehearsal I<\/em> (1999\u20132001), in which a Volkswagen Beetle continues its Sisyphean exercise of ascending and descending a hill, and Wu Chi-Yu\u2019s video Reading List<\/em> (2017), in which the underbelly of transnational capitalism incisively rescales itself, is another \u201cthird world,\u201d Huang Jing Yuan\u2019s own hybrid gallery, Right to Write <\/em>(2018). Her writing room, a co-writing space with three of her own paintings interspersed with calligraphic pieces by others, some close to calligraffitis, is situated between those two videographic loops of the modern, post or hyper. Set up like a construction site under construction, Huang\u2019s work is \u2014 or inserts itself like \u2014 a ruggedly analog, analogically layered contrarian zone in between, where expressively inscribed surfaces are grafted, seemingly randomly, onto the inner dividers of the space such as PET sheets, semitransparent PC sheets, tall green curtains, long canvases, etc., turning the whole room into a half-closed exit, a passage out of the textual site into another sort, sortie, of third-worlding.<\/p>\n\n\n\n <\/a> How so?<\/strong><\/p>\n\n\n\n So I am walking in, wandering through this dimly lit, shack-like choral site, a sort of kh\u00f4r\u0101<\/em> (\u03c7\u03ce\u03c1\u03b1), the territory outside the polis<\/em> also rooted in <\/em>it as an invisible receptacle, a housing house. The site is sliced and staged in five \u201csteps on the ladder of writing,\u201d as H\u00e9l\u00e8ne Cixous might say: (1) an alley-like corridor at the entrance to (2) a center-stage-like living room semi-open to (3) a backstage-like backroom that, with a set of three display cabinets and chairs, whispers \u201cthis is an archive\u201d to (4) a cave-like bedroom long and narrow, where five books on a small plastic table party with nineteen balloons crowded around the corners, all invited by two pillows at the end of the room, a silhouette of which is visible from (5) the reception, also an exit from\/to Wu\u2019s darkroom, the only access point.<\/p>\n\n\n\n \u201cThe Right to Write\u201d, participants and floor plan, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\n So this port of dreaming is portable and porous, an ex libris<\/em>, where the dreamwork, part of the book, also de<\/em>parts from itself, with the x <\/em>of ex, <\/em>its own out<\/em>work. In an exhibition leaflet, Huang writes:<\/p>\n\n\n\n The project tries to synchronize different kinds of isolation, to create a narrative for segregated worlds to mirror each other (no, they don\u2019t explain each other, nor can they save each other). It invites viewers to ask: What is the ordinary Chinese person\u2019s experience and expression as they negotiate the vortex of changes and ubiquitous inequality? What do these instances of picturing the world say about the time we are in? How may we empower ourselves when faced with the past and the reality in front of us, and the world yet to come?<\/p>\n\n\n\n <\/a> The layout that literalizes this democratic, cramming, clamoring, and choral spacing stays circular, which renders this documentary project multilayered as well as multilingual, and its discursive realism materially imperative: it is what it is. What you are entering and exiting into at once is a transient cocoon for the dispossessed in transit that can be \u2014 and was \u2014 constructed in just a couple of days. An interstitial crossbreeding of the words and the worlds across the board, a concurrent sighting-citing of the contingent \u201ccoming-together\u201d (Huang\u2019s words) on-site of what matters materially: that is what is happening in this counter-show of the sociopolitical hierarchy and intricacy of existence in China.<\/p>\n\n\n\n <\/a> Held here is an unmanicured display of the messy, messily precise assemblage of wor(l)ds. This democalligraphic utopia is littered with not only letters \u2014 a kinetographic mix of Chinese, English, German, slogans, clich\u00e9s, quips, among others \u2014 but an eclectic array of homey materials such as florescent lamps, blankets, foam padding, and vinyl sacks.<\/p>\n\n\n\n There are scraps on the bedroom wall, including a sheet from a college-ruled notebook bearing the logo of Beijing\u2019s Tsinghua University over which an un(der)recognized migrant worker-calligrapher, one of the fifteen invited, has written his lines quite elegantly \u2014 a sign of education. The letterhead signifies something for the letter-writer otherwise insignificant; see how such a socially significant space, Tsinghua, one of the highest seats of learning in China, was used as an interface, as a practice paper. What makes this otherwise ordinary note noteworthy is the psychopolitical incongruity between the two different use values held by that inscriptive surface, one utterly functional and the other overly symbolic. Those blank lines inviting aspirational inscriptive practices routinize the small, private pleasure of playing on a (reproduced) public property, which would also be inconsequential \u2014 or is it? Such a transposition does seem to effect transvaluation, however micro. In this shabby dreamscape, like a roomy coffin, the glass ceiling could also shelter the nanotransgression of a writer enjoying his own calligraphic (with)drawing, a room of his own.<\/p>\n\n\n\n <\/a> So what?<\/strong><\/p>\n\n\n\n Looking back, what initially attracted me was this concept behind the current edition of the Shanghai Biennale: \u201cproregress,\u201d a curious head-scratcher from poet-painter-playwright E. E. Cummings, whose works countered the ideology of progress, the discourse against which one is supposed to feel under- or over-developed or still developing. At the Biennale, the curatorial team has brilliantly recontextualized proregress as the correlate to a mystical dance step, \u79b9\u6b65 (yubu<\/em>), in the ancient Daoist ritual: a twisted bi-directional movement composed of stepping forward once and backward twice. In its contraction, proregress holds together the scrambled eggy steps of choreographic time across this chiastic zone of modern\/postmodern\/spatiotemporal contemporaneity and simplexity, \u201cactually absorbing,\u201d as the biennial\u2019s chief curator Cuauht\u00e9moc Medina aptly puts it, \u201cthe weight of this moment in time,\u201d all the complications and entanglements that time itself seems to endure now and nowadays as if forever.<\/p>\n\n\n\n <\/a> Huang\u2019s Right to Write<\/em> is, again, an illuminating case in point, a vibrant work in proregress. An imaginatively populated and democratically polyvocalized why-not, this choral space for an archival future honors without trying to harmonize the life experiences of the xiaorenmin<\/em> (xiao <\/em>small, renmin<\/em> people as in People\u2019s Republic of China). She choreographs their microsignatory gestures by unleashing and rechanneling their expressive, and at times lyrical, potentials \u2014 through and toward the collaborative platforming of their auto-ethnographic or auto-documentary work. This mode of socially participatory art is literally process-oriented since the work in network, at every step, materializes through co-creative dialogues; the artist is there not to validate or authorize but as a sort of midwife. As a series of counter-proscriptive and co-scriptive experimentations in open-ended collaborations, Right to Write<\/em> (or to read) becomes a site-specific, de<\/em>scriptively proregressive exploration and analog data-visualization of a polycentric democalligraphic utopia \u2014 pre<\/em>gressive, even (walking along <\/em>as if ahead<\/em>\/around\/back and forth<\/em>).<\/p>\n\n\n\n <\/a> What is the condition that makes progressive and regressive moment, itself so ambivalently (with)held, possible? Such a Kantian quest could be recast in the spirit of daoist proregressivity too: pushing for \u201cpregressing,\u201d I\u2019m transporting this idea that dao<\/em> (way\/route \u9053) is \u201cin the making\u201d (\u9053\u884c\u4e4b\u800c\u6210), not simply made, as in the second chapter of the Zhuangzi<\/em> (\u838a\u5b50), which showcases the egalitarianism of Daoist philopoetics. Pregress (\u9053\u884c), a Daoist practice of \u201cfollowing\u201d Dao, is an instantaneous auto-spacing and pacing, an improvisational performance per<\/em> form (of its own), which is not to say that the pregressor is an \u201cavant-garde\u201d walker or mover, for she \u201cadvances\u201d not<\/em>. Rather, yubu<\/em>-ing more or less, she lingers with her neighbors and moves with or without them, as necessary, while passing through various walls, connecting the dots here and there. In short, pregress points to choral timing<\/em> and spacing<\/em> itself \u2014 or herself \u2014 embodied in its vehicular dao<\/em>, namely, passages and processes including protocols in motion.<\/p>\n\n\n\n So why bother?<\/strong><\/p>\n\n\n\n I am interested in further resemiologizing the eco-echo-spacing mode of socially engaged art and articulating such in a more site-specific, sinographic set of idioms. I focus on the dynamic ambience of Huang\u2019s translingual and social dreamwork, inseparable from her teamwork as well as her own artwork, because there I see how the pregressive level of its praxis also mirrors and reinforces its formative bioenergetics (qi<\/em> \u6c14\/\u6c17), not just its morphology; this way, the framing and the framed become reciprocally generative.<\/p>\n\n\n\n Perhaps this is how a Daoist sensor<\/em>ship works as a mode of (counter-)demonstration too. See how a critical intervention happens through and concurs with a counterbalancing perceptual move: observe the convoluted yet stabilized shaking, the shake-up in the middle of it, swift and quiet, potential or actual, literal or metaphoric, the phenomenological and material presence of the other move, its necessary messiness, however mini or contained. What prompts all that jazz, this network of collaboration, if not the work of netting and knitting per se? Huang\u2019s structurally contingent, makeshift production of proletariat calligrammatology through socially synergetic artistic practices presents a matrixially autographic \u201cX\u201d without presetting or representing \u201cit\u201d (X) while proregressively renewing each one in the form of auto-archival backtracking and recasting.<\/p>\n\n\n\n <\/a> Involved here is a constant passive-active glancing back and forth, the active gaze of the artist, also visually metonymized in the two (pair-able) paintings of a tight-lipped, stubborn-looking little girl at the back leading to the reading room of the house (Next to the water 01<\/em>, 2016) and a middle-aged woman in front framing the living room, who looks like a world-weary Chinese Athena today (Next to the water 03<\/em>, 2018). \u201cIf writing is the mother of the comatose archive,\u201d as the artist writes, \u201cexhibiting could be the rehearsal hall for a brief spell of somnambulation,\u201d where that girl turning around to look at you, that haunting one, could be you, any one of, in the past or future, just as that lady resting there for a while in the middle of some group tour could be anywhere, anyone.<\/p>\n\n\n\n <\/a> Further telling is the position of those two paintings triangulated by one in between, an image of a (pregnant?) girl and a boy holding each other (Next to the water 02<\/em>, 2017). The pregressive circularity of and bordered connections among three female figures, only visually signified here, functions like an ur-text (of contemporary China in the making?) that seems already fragmented as if pre-indexed. By proactively staging counterfragmentations as a series of shout-outs, however small or seemingly secondary, Huang\u2019s anarchive, along with the pregressive vacating of its own vocal subjectivity, effects the autocuration of an eclectically free \u201cwe\u201d, the sort of intersubject not as strongly present in more elitist and individualistic \u201cother Western\u201d figures such as Emily Dickinson or Walter Benjamin, those also focused on the fragment(ed)o(nto)logy of documented lives.<\/p>\n\n\n\n What would those writers from other shores have seen in this \u201cother\u201d writing?<\/p>\n\n\n\n <\/a> The rustic, quietly irreducible residency of the graphic bodies dynamically distributed and detailed in small pieces of papers and big pictures held together in their chrono-diverse proregressivity, pregressively<\/em> intensifies the very blurry overlap between the visual and the \u201cverbal\u201d which, in the case of Chinese characters, is close to visuo-musical. Right to Write<\/em> as a right to play de-monolingualizes and re-quotidianizes the very norms, practices, and scenes of writing, and the artwork itself, the platform that looks but is not flat, unfolds through a serially inclusive, transformatively collective aesthetic democratization, especially an asynchronic remin<\/em>ification with other \u201cChinese characteristics,\u201d of a Right to Write<\/em>.<\/p>\n\n\n\n This could perhaps be one way to split open and empower alternative social (including socialist or is it now post-socialist?) tracks within China today, in and outside her hyper-controlled politico-economic landscapes and turbo dreams. This idea of a democalligraphic u-topia remains highly speculative and yet it is at least an idea. On my way out of the Shanghai Biennale, right past Museums, Money and Politics<\/em> (2018), Andrea Fraser\u2019s map of the US shown in China today, another visualization of the \u201cverbal,\u201d I thought, yes, \u201cright: to write _____\u201d alone together would be an idea \u2014 especially to write along with others in a corner room of ones\u2019<\/em> own belonging to a stately house that used to be a power station, yes, power.<\/p>\n\n\n\n <\/a> Kyoo Lee<\/strong>, a member of AICA-USA, a Professor of Philosophy, Gender Studies and Justice Studies at the City University of New York, and the author of Reading Descartes Otherwise <\/em>and Writing Entanglish<\/em>, is a transdisciplinary philosopher, art\/cultural\/literary critic and writer.<\/p>\n\n\n\n A recipient of fellowships and visiting appointments from Cambridge University, CUNY Graduate Center, KIAS, the Mellon Foundation, the NEH, Seoul National University, Yanbian University, among others, her philopoetic texts have appeared in AICA-USA Magazine<\/em>, Asian American Literary Review<\/em>, The Brooklyn Rail<\/em>, Flash Art<\/em>, PN Review<\/em>, Randian,<\/em> The Volta<\/em> and the White Review<\/em> as well as numerous academic journals and anthologies. Her Mellon-funded anthology, Queenzenglish.mp3<\/em>: poetry | philosophy | performativity<\/em>, with contributions from 50+ poets, musicians, theorists and performance artists from across the globe, is forthcoming.<\/p>\n\n\n\n The co-editor of philo<\/em>SOPHIA: A Journal of trans<\/em>Continental Feminism, she also serves on the editorial boards of Asian Journal of Women\u2019s Studies<\/em>, Bloomsbury Studies in Critical Poetics<\/em>, Open Humanities Press<\/em>, Simon de Beauvoir Studies<\/em> and Women\u2019s Studies Quarterly<\/em>.<\/p>\n\n\n\n Throughout her site-specific cogitographical practices, Q Professor Lee explores co-generative links between critical theory and creative prose including \u201cart writing\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":" by Kyoo Lee First published in\u00a0Flash Art … Continue reading
<\/p>\n\n\n\n
I wonder if exhibiting could be the rehearsal hall for a brief spell of somnambulation.<\/em><\/p>\n\n\n\n
Huang Jing Yuan, \u201cThe Right to Write\u201d, Installation view at \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Courtesy of the Power Station of Art.<\/p>\n\n\n\n
\u201cThe Right to Write\u201d, entrance, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\n
\u201cThe Right to Write\u201d, entryway (right: Ma Yongjin part; Left: TST part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Jiang Wenyi. Courtesy of the Power Station of Art.<\/strong><\/p>\n\n\n\n
\u201cThe Right to Write\u201d, Installation view (Xu Liangyuan part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\n
\u201cThe Right to Write\u201d, floor, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\n
\u201cThe Right to Write\u201d, Installation view (Chen Jianhe part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\n
\u201cThe Right to Write\u201d, Installation view (Song Chengbao part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\n
\u201cThe Right to Write\u201d, Installation view (Oil painting \u201cNext to the water 03\u201d by Huang Jingyuan), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\n
\u201cThe Right to Write\u201d, Installation view, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\n
\u201cThe Right to Write\u201d, Installation view (Xu Shida part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\n
![<\/a>Huang Jing Yuan, \u201cThe Right to Write\u201d, Installation view at \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Courtesy of the Power Station of Art.<\/p>\n\n\n\nHow so?<\/strong><\/p>\n\n\n\nSo I am walking in, wandering through this dimly lit, shack-like choral site, a sort of kh\u00f4r\u0101<\/em> (\u03c7\u03ce\u03c1\u03b1), the territory outside the polis<\/em> also rooted in <\/em>it as an invisible receptacle, a housing house. The site is sliced and staged in five \u201csteps on the ladder of writing,\u201d as H\u00e9l\u00e8ne Cixous might say: (1) an alley-like corridor at the entrance to (2) a center-stage-like living room semi-open to (3) a backstage-like backroom that, with a set of three display cabinets and chairs, whispers \u201cthis is an archive\u201d to (4) a cave-like bedroom long and narrow, where five books on a small plastic table party with nineteen balloons crowded around the corners, all invited by two pillows at the end of the room, a silhouette of which is visible from (5) the reception, also an exit from\/to Wu\u2019s darkroom, the only access point.<\/p>\n\n\n\n\u201cThe Right to Write\u201d, participants and floor plan, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nSo this port of dreaming is portable and porous, an ex libris<\/em>, where the dreamwork, part of the book, also de<\/em>parts from itself, with the x <\/em>of ex, <\/em>its own out<\/em>work. In an exhibition leaflet, Huang writes:<\/p>\n\n\n\nThe project tries to synchronize different kinds of isolation, to create a narrative for segregated worlds to mirror each other (no, they don\u2019t explain each other, nor can they save each other). It invites viewers to ask: What is the ordinary Chinese person\u2019s experience and expression as they negotiate the vortex of changes and ubiquitous inequality? What do these instances of picturing the world say about the time we are in? How may we empower ourselves when faced with the past and the reality in front of us, and the world yet to come?<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, entrance, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nThe layout that literalizes this democratic, cramming, clamoring, and choral spacing stays circular, which renders this documentary project multilayered as well as multilingual, and its discursive realism materially imperative: it is what it is. What you are entering and exiting into at once is a transient cocoon for the dispossessed in transit that can be \u2014 and was \u2014 constructed in just a couple of days. An interstitial crossbreeding of the words and the worlds across the board, a concurrent sighting-citing of the contingent \u201ccoming-together\u201d (Huang\u2019s words) on-site of what matters materially: that is what is happening in this counter-show of the sociopolitical hierarchy and intricacy of existence in China.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, entryway (right: Ma Yongjin part; Left: TST part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Jiang Wenyi. Courtesy of the Power Station of Art.<\/strong><\/p>\n\n\n\nHeld here is an unmanicured display of the messy, messily precise assemblage of wor(l)ds. This democalligraphic utopia is littered with not only letters \u2014 a kinetographic mix of Chinese, English, German, slogans, clich\u00e9s, quips, among others \u2014 but an eclectic array of homey materials such as florescent lamps, blankets, foam padding, and vinyl sacks.<\/p>\n\n\n\nThere are scraps on the bedroom wall, including a sheet from a college-ruled notebook bearing the logo of Beijing\u2019s Tsinghua University over which an un(der)recognized migrant worker-calligrapher, one of the fifteen invited, has written his lines quite elegantly \u2014 a sign of education. The letterhead signifies something for the letter-writer otherwise insignificant; see how such a socially significant space, Tsinghua, one of the highest seats of learning in China, was used as an interface, as a practice paper. What makes this otherwise ordinary note noteworthy is the psychopolitical incongruity between the two different use values held by that inscriptive surface, one utterly functional and the other overly symbolic. Those blank lines inviting aspirational inscriptive practices routinize the small, private pleasure of playing on a (reproduced) public property, which would also be inconsequential \u2014 or is it? Such a transposition does seem to effect transvaluation, however micro. In this shabby dreamscape, like a roomy coffin, the glass ceiling could also shelter the nanotransgression of a writer enjoying his own calligraphic (with)drawing, a room of his own.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Xu Liangyuan part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nSo what?<\/strong><\/p>\n\n\n\nLooking back, what initially attracted me was this concept behind the current edition of the Shanghai Biennale: \u201cproregress,\u201d a curious head-scratcher from poet-painter-playwright E. E. Cummings, whose works countered the ideology of progress, the discourse against which one is supposed to feel under- or over-developed or still developing. At the Biennale, the curatorial team has brilliantly recontextualized proregress as the correlate to a mystical dance step, \u79b9\u6b65 (yubu<\/em>), in the ancient Daoist ritual: a twisted bi-directional movement composed of stepping forward once and backward twice. In its contraction, proregress holds together the scrambled eggy steps of choreographic time across this chiastic zone of modern\/postmodern\/spatiotemporal contemporaneity and simplexity, \u201cactually absorbing,\u201d as the biennial\u2019s chief curator Cuauht\u00e9moc Medina aptly puts it, \u201cthe weight of this moment in time,\u201d all the complications and entanglements that time itself seems to endure now and nowadays as if forever.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, floor, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nHuang\u2019s Right to Write<\/em> is, again, an illuminating case in point, a vibrant work in proregress. An imaginatively populated and democratically polyvocalized why-not, this choral space for an archival future honors without trying to harmonize the life experiences of the xiaorenmin<\/em> (xiao <\/em>small, renmin<\/em> people as in People\u2019s Republic of China). She choreographs their microsignatory gestures by unleashing and rechanneling their expressive, and at times lyrical, potentials \u2014 through and toward the collaborative platforming of their auto-ethnographic or auto-documentary work. This mode of socially participatory art is literally process-oriented since the work in network, at every step, materializes through co-creative dialogues; the artist is there not to validate or authorize but as a sort of midwife. As a series of counter-proscriptive and co-scriptive experimentations in open-ended collaborations, Right to Write<\/em> (or to read) becomes a site-specific, de<\/em>scriptively proregressive exploration and analog data-visualization of a polycentric democalligraphic utopia \u2014 pre<\/em>gressive, even (walking along <\/em>as if ahead<\/em>\/around\/back and forth<\/em>).<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Chen Jianhe part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nWhat is the condition that makes progressive and regressive moment, itself so ambivalently (with)held, possible? Such a Kantian quest could be recast in the spirit of daoist proregressivity too: pushing for \u201cpregressing,\u201d I\u2019m transporting this idea that dao<\/em> (way\/route \u9053) is \u201cin the making\u201d (\u9053\u884c\u4e4b\u800c\u6210), not simply made, as in the second chapter of the Zhuangzi<\/em> (\u838a\u5b50), which showcases the egalitarianism of Daoist philopoetics. Pregress (\u9053\u884c), a Daoist practice of \u201cfollowing\u201d Dao, is an instantaneous auto-spacing and pacing, an improvisational performance per<\/em> form (of its own), which is not to say that the pregressor is an \u201cavant-garde\u201d walker or mover, for she \u201cadvances\u201d not<\/em>. Rather, yubu<\/em>-ing more or less, she lingers with her neighbors and moves with or without them, as necessary, while passing through various walls, connecting the dots here and there. In short, pregress points to choral timing<\/em> and spacing<\/em> itself \u2014 or herself \u2014 embodied in its vehicular dao<\/em>, namely, passages and processes including protocols in motion.<\/p>\n\n\n\nSo why bother?<\/strong><\/p>\n\n\n\nI am interested in further resemiologizing the eco-echo-spacing mode of socially engaged art and articulating such in a more site-specific, sinographic set of idioms. I focus on the dynamic ambience of Huang\u2019s translingual and social dreamwork, inseparable from her teamwork as well as her own artwork, because there I see how the pregressive level of its praxis also mirrors and reinforces its formative bioenergetics (qi<\/em> \u6c14\/\u6c17), not just its morphology; this way, the framing and the framed become reciprocally generative.<\/p>\n\n\n\nPerhaps this is how a Daoist sensor<\/em>ship works as a mode of (counter-)demonstration too. See how a critical intervention happens through and concurs with a counterbalancing perceptual move: observe the convoluted yet stabilized shaking, the shake-up in the middle of it, swift and quiet, potential or actual, literal or metaphoric, the phenomenological and material presence of the other move, its necessary messiness, however mini or contained. What prompts all that jazz, this network of collaboration, if not the work of netting and knitting per se? Huang\u2019s structurally contingent, makeshift production of proletariat calligrammatology through socially synergetic artistic practices presents a matrixially autographic \u201cX\u201d without presetting or representing \u201cit\u201d (X) while proregressively renewing each one in the form of auto-archival backtracking and recasting.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Song Chengbao part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nInvolved here is a constant passive-active glancing back and forth, the active gaze of the artist, also visually metonymized in the two (pair-able) paintings of a tight-lipped, stubborn-looking little girl at the back leading to the reading room of the house (Next to the water 01<\/em>, 2016) and a middle-aged woman in front framing the living room, who looks like a world-weary Chinese Athena today (Next to the water 03<\/em>, 2018). \u201cIf writing is the mother of the comatose archive,\u201d as the artist writes, \u201cexhibiting could be the rehearsal hall for a brief spell of somnambulation,\u201d where that girl turning around to look at you, that haunting one, could be you, any one of, in the past or future, just as that lady resting there for a while in the middle of some group tour could be anywhere, anyone.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Oil painting \u201cNext to the water 03\u201d by Huang Jingyuan), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nFurther telling is the position of those two paintings triangulated by one in between, an image of a (pregnant?) girl and a boy holding each other (Next to the water 02<\/em>, 2017). The pregressive circularity of and bordered connections among three female figures, only visually signified here, functions like an ur-text (of contemporary China in the making?) that seems already fragmented as if pre-indexed. By proactively staging counterfragmentations as a series of shout-outs, however small or seemingly secondary, Huang\u2019s anarchive, along with the pregressive vacating of its own vocal subjectivity, effects the autocuration of an eclectically free \u201cwe\u201d, the sort of intersubject not as strongly present in more elitist and individualistic \u201cother Western\u201d figures such as Emily Dickinson or Walter Benjamin, those also focused on the fragment(ed)o(nto)logy of documented lives.<\/p>\n\n\n\nWhat would those writers from other shores have seen in this \u201cother\u201d writing?<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nThe rustic, quietly irreducible residency of the graphic bodies dynamically distributed and detailed in small pieces of papers and big pictures held together in their chrono-diverse proregressivity, pregressively<\/em> intensifies the very blurry overlap between the visual and the \u201cverbal\u201d which, in the case of Chinese characters, is close to visuo-musical. Right to Write<\/em> as a right to play de-monolingualizes and re-quotidianizes the very norms, practices, and scenes of writing, and the artwork itself, the platform that looks but is not flat, unfolds through a serially inclusive, transformatively collective aesthetic democratization, especially an asynchronic remin<\/em>ification with other \u201cChinese characteristics,\u201d of a Right to Write<\/em>.<\/p>\n\n\n\nThis could perhaps be one way to split open and empower alternative social (including socialist or is it now post-socialist?) tracks within China today, in and outside her hyper-controlled politico-economic landscapes and turbo dreams. This idea of a democalligraphic u-topia remains highly speculative and yet it is at least an idea. On my way out of the Shanghai Biennale, right past Museums, Money and Politics<\/em> (2018), Andrea Fraser\u2019s map of the US shown in China today, another visualization of the \u201cverbal,\u201d I thought, yes, \u201cright: to write _____\u201d alone together would be an idea \u2014 especially to write along with others in a corner room of ones\u2019<\/em> own belonging to a stately house that used to be a power station, yes, power.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Xu Shida part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nKyoo Lee<\/strong>, a member of AICA-USA, a Professor of Philosophy, Gender Studies and Justice Studies at the City University of New York, and the author of Reading Descartes Otherwise <\/em>and Writing Entanglish<\/em>, is a transdisciplinary philosopher, art\/cultural\/literary critic and writer.<\/p>\n\n\n\nA recipient of fellowships and visiting appointments from Cambridge University, CUNY Graduate Center, KIAS, the Mellon Foundation, the NEH, Seoul National University, Yanbian University, among others, her philopoetic texts have appeared in AICA-USA Magazine<\/em>, Asian American Literary Review<\/em>, The Brooklyn Rail<\/em>, Flash Art<\/em>, PN Review<\/em>, Randian,<\/em> The Volta<\/em> and the White Review<\/em> as well as numerous academic journals and anthologies. Her Mellon-funded anthology, Queenzenglish.mp3<\/em>: poetry | philosophy | performativity<\/em>, with contributions from 50+ poets, musicians, theorists and performance artists from across the globe, is forthcoming.<\/p>\n\n\n\nThe co-editor of philo<\/em>SOPHIA: A Journal of trans<\/em>Continental Feminism, she also serves on the editorial boards of Asian Journal of Women\u2019s Studies<\/em>, Bloomsbury Studies in Critical Poetics<\/em>, Open Humanities Press<\/em>, Simon de Beauvoir Studies<\/em> and Women\u2019s Studies Quarterly<\/em>.<\/p>\n\n\n\nThroughout her site-specific cogitographical practices, Q Professor Lee explores co-generative links between critical theory and creative prose including \u201cart writing\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"by Kyoo Lee First published in\u00a0Flash Art … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":136,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[84,57,59,82,60,58,61,81,29,75,69,85,83],"yoast_head":"\n\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - 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![<\/a>\u201cThe Right to Write\u201d, entrance, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nThe layout that literalizes this democratic, cramming, clamoring, and choral spacing stays circular, which renders this documentary project multilayered as well as multilingual, and its discursive realism materially imperative: it is what it is. What you are entering and exiting into at once is a transient cocoon for the dispossessed in transit that can be \u2014 and was \u2014 constructed in just a couple of days. An interstitial crossbreeding of the words and the worlds across the board, a concurrent sighting-citing of the contingent \u201ccoming-together\u201d (Huang\u2019s words) on-site of what matters materially: that is what is happening in this counter-show of the sociopolitical hierarchy and intricacy of existence in China.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, entryway (right: Ma Yongjin part; Left: TST part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Jiang Wenyi. Courtesy of the Power Station of Art.<\/strong><\/p>\n\n\n\nHeld here is an unmanicured display of the messy, messily precise assemblage of wor(l)ds. This democalligraphic utopia is littered with not only letters \u2014 a kinetographic mix of Chinese, English, German, slogans, clich\u00e9s, quips, among others \u2014 but an eclectic array of homey materials such as florescent lamps, blankets, foam padding, and vinyl sacks.<\/p>\n\n\n\nThere are scraps on the bedroom wall, including a sheet from a college-ruled notebook bearing the logo of Beijing\u2019s Tsinghua University over which an un(der)recognized migrant worker-calligrapher, one of the fifteen invited, has written his lines quite elegantly \u2014 a sign of education. The letterhead signifies something for the letter-writer otherwise insignificant; see how such a socially significant space, Tsinghua, one of the highest seats of learning in China, was used as an interface, as a practice paper. What makes this otherwise ordinary note noteworthy is the psychopolitical incongruity between the two different use values held by that inscriptive surface, one utterly functional and the other overly symbolic. Those blank lines inviting aspirational inscriptive practices routinize the small, private pleasure of playing on a (reproduced) public property, which would also be inconsequential \u2014 or is it? Such a transposition does seem to effect transvaluation, however micro. In this shabby dreamscape, like a roomy coffin, the glass ceiling could also shelter the nanotransgression of a writer enjoying his own calligraphic (with)drawing, a room of his own.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Xu Liangyuan part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nSo what?<\/strong><\/p>\n\n\n\nLooking back, what initially attracted me was this concept behind the current edition of the Shanghai Biennale: \u201cproregress,\u201d a curious head-scratcher from poet-painter-playwright E. E. Cummings, whose works countered the ideology of progress, the discourse against which one is supposed to feel under- or over-developed or still developing. At the Biennale, the curatorial team has brilliantly recontextualized proregress as the correlate to a mystical dance step, \u79b9\u6b65 (yubu<\/em>), in the ancient Daoist ritual: a twisted bi-directional movement composed of stepping forward once and backward twice. In its contraction, proregress holds together the scrambled eggy steps of choreographic time across this chiastic zone of modern\/postmodern\/spatiotemporal contemporaneity and simplexity, \u201cactually absorbing,\u201d as the biennial\u2019s chief curator Cuauht\u00e9moc Medina aptly puts it, \u201cthe weight of this moment in time,\u201d all the complications and entanglements that time itself seems to endure now and nowadays as if forever.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, floor, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nHuang\u2019s Right to Write<\/em> is, again, an illuminating case in point, a vibrant work in proregress. An imaginatively populated and democratically polyvocalized why-not, this choral space for an archival future honors without trying to harmonize the life experiences of the xiaorenmin<\/em> (xiao <\/em>small, renmin<\/em> people as in People\u2019s Republic of China). She choreographs their microsignatory gestures by unleashing and rechanneling their expressive, and at times lyrical, potentials \u2014 through and toward the collaborative platforming of their auto-ethnographic or auto-documentary work. This mode of socially participatory art is literally process-oriented since the work in network, at every step, materializes through co-creative dialogues; the artist is there not to validate or authorize but as a sort of midwife. As a series of counter-proscriptive and co-scriptive experimentations in open-ended collaborations, Right to Write<\/em> (or to read) becomes a site-specific, de<\/em>scriptively proregressive exploration and analog data-visualization of a polycentric democalligraphic utopia \u2014 pre<\/em>gressive, even (walking along <\/em>as if ahead<\/em>\/around\/back and forth<\/em>).<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Chen Jianhe part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nWhat is the condition that makes progressive and regressive moment, itself so ambivalently (with)held, possible? Such a Kantian quest could be recast in the spirit of daoist proregressivity too: pushing for \u201cpregressing,\u201d I\u2019m transporting this idea that dao<\/em> (way\/route \u9053) is \u201cin the making\u201d (\u9053\u884c\u4e4b\u800c\u6210), not simply made, as in the second chapter of the Zhuangzi<\/em> (\u838a\u5b50), which showcases the egalitarianism of Daoist philopoetics. Pregress (\u9053\u884c), a Daoist practice of \u201cfollowing\u201d Dao, is an instantaneous auto-spacing and pacing, an improvisational performance per<\/em> form (of its own), which is not to say that the pregressor is an \u201cavant-garde\u201d walker or mover, for she \u201cadvances\u201d not<\/em>. Rather, yubu<\/em>-ing more or less, she lingers with her neighbors and moves with or without them, as necessary, while passing through various walls, connecting the dots here and there. In short, pregress points to choral timing<\/em> and spacing<\/em> itself \u2014 or herself \u2014 embodied in its vehicular dao<\/em>, namely, passages and processes including protocols in motion.<\/p>\n\n\n\nSo why bother?<\/strong><\/p>\n\n\n\nI am interested in further resemiologizing the eco-echo-spacing mode of socially engaged art and articulating such in a more site-specific, sinographic set of idioms. I focus on the dynamic ambience of Huang\u2019s translingual and social dreamwork, inseparable from her teamwork as well as her own artwork, because there I see how the pregressive level of its praxis also mirrors and reinforces its formative bioenergetics (qi<\/em> \u6c14\/\u6c17), not just its morphology; this way, the framing and the framed become reciprocally generative.<\/p>\n\n\n\nPerhaps this is how a Daoist sensor<\/em>ship works as a mode of (counter-)demonstration too. See how a critical intervention happens through and concurs with a counterbalancing perceptual move: observe the convoluted yet stabilized shaking, the shake-up in the middle of it, swift and quiet, potential or actual, literal or metaphoric, the phenomenological and material presence of the other move, its necessary messiness, however mini or contained. What prompts all that jazz, this network of collaboration, if not the work of netting and knitting per se? Huang\u2019s structurally contingent, makeshift production of proletariat calligrammatology through socially synergetic artistic practices presents a matrixially autographic \u201cX\u201d without presetting or representing \u201cit\u201d (X) while proregressively renewing each one in the form of auto-archival backtracking and recasting.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Song Chengbao part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nInvolved here is a constant passive-active glancing back and forth, the active gaze of the artist, also visually metonymized in the two (pair-able) paintings of a tight-lipped, stubborn-looking little girl at the back leading to the reading room of the house (Next to the water 01<\/em>, 2016) and a middle-aged woman in front framing the living room, who looks like a world-weary Chinese Athena today (Next to the water 03<\/em>, 2018). \u201cIf writing is the mother of the comatose archive,\u201d as the artist writes, \u201cexhibiting could be the rehearsal hall for a brief spell of somnambulation,\u201d where that girl turning around to look at you, that haunting one, could be you, any one of, in the past or future, just as that lady resting there for a while in the middle of some group tour could be anywhere, anyone.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Oil painting \u201cNext to the water 03\u201d by Huang Jingyuan), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nFurther telling is the position of those two paintings triangulated by one in between, an image of a (pregnant?) girl and a boy holding each other (Next to the water 02<\/em>, 2017). The pregressive circularity of and bordered connections among three female figures, only visually signified here, functions like an ur-text (of contemporary China in the making?) that seems already fragmented as if pre-indexed. By proactively staging counterfragmentations as a series of shout-outs, however small or seemingly secondary, Huang\u2019s anarchive, along with the pregressive vacating of its own vocal subjectivity, effects the autocuration of an eclectically free \u201cwe\u201d, the sort of intersubject not as strongly present in more elitist and individualistic \u201cother Western\u201d figures such as Emily Dickinson or Walter Benjamin, those also focused on the fragment(ed)o(nto)logy of documented lives.<\/p>\n\n\n\nWhat would those writers from other shores have seen in this \u201cother\u201d writing?<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nThe rustic, quietly irreducible residency of the graphic bodies dynamically distributed and detailed in small pieces of papers and big pictures held together in their chrono-diverse proregressivity, pregressively<\/em> intensifies the very blurry overlap between the visual and the \u201cverbal\u201d which, in the case of Chinese characters, is close to visuo-musical. Right to Write<\/em> as a right to play de-monolingualizes and re-quotidianizes the very norms, practices, and scenes of writing, and the artwork itself, the platform that looks but is not flat, unfolds through a serially inclusive, transformatively collective aesthetic democratization, especially an asynchronic remin<\/em>ification with other \u201cChinese characteristics,\u201d of a Right to Write<\/em>.<\/p>\n\n\n\nThis could perhaps be one way to split open and empower alternative social (including socialist or is it now post-socialist?) tracks within China today, in and outside her hyper-controlled politico-economic landscapes and turbo dreams. This idea of a democalligraphic u-topia remains highly speculative and yet it is at least an idea. On my way out of the Shanghai Biennale, right past Museums, Money and Politics<\/em> (2018), Andrea Fraser\u2019s map of the US shown in China today, another visualization of the \u201cverbal,\u201d I thought, yes, \u201cright: to write _____\u201d alone together would be an idea \u2014 especially to write along with others in a corner room of ones\u2019<\/em> own belonging to a stately house that used to be a power station, yes, power.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Xu Shida part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nKyoo Lee<\/strong>, a member of AICA-USA, a Professor of Philosophy, Gender Studies and Justice Studies at the City University of New York, and the author of Reading Descartes Otherwise <\/em>and Writing Entanglish<\/em>, is a transdisciplinary philosopher, art\/cultural\/literary critic and writer.<\/p>\n\n\n\nA recipient of fellowships and visiting appointments from Cambridge University, CUNY Graduate Center, KIAS, the Mellon Foundation, the NEH, Seoul National University, Yanbian University, among others, her philopoetic texts have appeared in AICA-USA Magazine<\/em>, Asian American Literary Review<\/em>, The Brooklyn Rail<\/em>, Flash Art<\/em>, PN Review<\/em>, Randian,<\/em> The Volta<\/em> and the White Review<\/em> as well as numerous academic journals and anthologies. Her Mellon-funded anthology, Queenzenglish.mp3<\/em>: poetry | philosophy | performativity<\/em>, with contributions from 50+ poets, musicians, theorists and performance artists from across the globe, is forthcoming.<\/p>\n\n\n\nThe co-editor of philo<\/em>SOPHIA: A Journal of trans<\/em>Continental Feminism, she also serves on the editorial boards of Asian Journal of Women\u2019s Studies<\/em>, Bloomsbury Studies in Critical Poetics<\/em>, Open Humanities Press<\/em>, Simon de Beauvoir Studies<\/em> and Women\u2019s Studies Quarterly<\/em>.<\/p>\n\n\n\nThroughout her site-specific cogitographical practices, Q Professor Lee explores co-generative links between critical theory and creative prose including \u201cart writing\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"by Kyoo Lee First published in\u00a0Flash Art … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":136,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[84,57,59,82,60,58,61,81,29,75,69,85,83],"yoast_head":"\n\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - 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![<\/a>\u201cThe Right to Write\u201d, entryway (right: Ma Yongjin part; Left: TST part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Jiang Wenyi. Courtesy of the Power Station of Art.<\/strong><\/p>\n\n\n\nHeld here is an unmanicured display of the messy, messily precise assemblage of wor(l)ds. This democalligraphic utopia is littered with not only letters \u2014 a kinetographic mix of Chinese, English, German, slogans, clich\u00e9s, quips, among others \u2014 but an eclectic array of homey materials such as florescent lamps, blankets, foam padding, and vinyl sacks.<\/p>\n\n\n\nThere are scraps on the bedroom wall, including a sheet from a college-ruled notebook bearing the logo of Beijing\u2019s Tsinghua University over which an un(der)recognized migrant worker-calligrapher, one of the fifteen invited, has written his lines quite elegantly \u2014 a sign of education. The letterhead signifies something for the letter-writer otherwise insignificant; see how such a socially significant space, Tsinghua, one of the highest seats of learning in China, was used as an interface, as a practice paper. What makes this otherwise ordinary note noteworthy is the psychopolitical incongruity between the two different use values held by that inscriptive surface, one utterly functional and the other overly symbolic. Those blank lines inviting aspirational inscriptive practices routinize the small, private pleasure of playing on a (reproduced) public property, which would also be inconsequential \u2014 or is it? Such a transposition does seem to effect transvaluation, however micro. In this shabby dreamscape, like a roomy coffin, the glass ceiling could also shelter the nanotransgression of a writer enjoying his own calligraphic (with)drawing, a room of his own.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Xu Liangyuan part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nSo what?<\/strong><\/p>\n\n\n\nLooking back, what initially attracted me was this concept behind the current edition of the Shanghai Biennale: \u201cproregress,\u201d a curious head-scratcher from poet-painter-playwright E. E. Cummings, whose works countered the ideology of progress, the discourse against which one is supposed to feel under- or over-developed or still developing. At the Biennale, the curatorial team has brilliantly recontextualized proregress as the correlate to a mystical dance step, \u79b9\u6b65 (yubu<\/em>), in the ancient Daoist ritual: a twisted bi-directional movement composed of stepping forward once and backward twice. In its contraction, proregress holds together the scrambled eggy steps of choreographic time across this chiastic zone of modern\/postmodern\/spatiotemporal contemporaneity and simplexity, \u201cactually absorbing,\u201d as the biennial\u2019s chief curator Cuauht\u00e9moc Medina aptly puts it, \u201cthe weight of this moment in time,\u201d all the complications and entanglements that time itself seems to endure now and nowadays as if forever.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, floor, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nHuang\u2019s Right to Write<\/em> is, again, an illuminating case in point, a vibrant work in proregress. An imaginatively populated and democratically polyvocalized why-not, this choral space for an archival future honors without trying to harmonize the life experiences of the xiaorenmin<\/em> (xiao <\/em>small, renmin<\/em> people as in People\u2019s Republic of China). She choreographs their microsignatory gestures by unleashing and rechanneling their expressive, and at times lyrical, potentials \u2014 through and toward the collaborative platforming of their auto-ethnographic or auto-documentary work. This mode of socially participatory art is literally process-oriented since the work in network, at every step, materializes through co-creative dialogues; the artist is there not to validate or authorize but as a sort of midwife. As a series of counter-proscriptive and co-scriptive experimentations in open-ended collaborations, Right to Write<\/em> (or to read) becomes a site-specific, de<\/em>scriptively proregressive exploration and analog data-visualization of a polycentric democalligraphic utopia \u2014 pre<\/em>gressive, even (walking along <\/em>as if ahead<\/em>\/around\/back and forth<\/em>).<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Chen Jianhe part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nWhat is the condition that makes progressive and regressive moment, itself so ambivalently (with)held, possible? Such a Kantian quest could be recast in the spirit of daoist proregressivity too: pushing for \u201cpregressing,\u201d I\u2019m transporting this idea that dao<\/em> (way\/route \u9053) is \u201cin the making\u201d (\u9053\u884c\u4e4b\u800c\u6210), not simply made, as in the second chapter of the Zhuangzi<\/em> (\u838a\u5b50), which showcases the egalitarianism of Daoist philopoetics. Pregress (\u9053\u884c), a Daoist practice of \u201cfollowing\u201d Dao, is an instantaneous auto-spacing and pacing, an improvisational performance per<\/em> form (of its own), which is not to say that the pregressor is an \u201cavant-garde\u201d walker or mover, for she \u201cadvances\u201d not<\/em>. Rather, yubu<\/em>-ing more or less, she lingers with her neighbors and moves with or without them, as necessary, while passing through various walls, connecting the dots here and there. In short, pregress points to choral timing<\/em> and spacing<\/em> itself \u2014 or herself \u2014 embodied in its vehicular dao<\/em>, namely, passages and processes including protocols in motion.<\/p>\n\n\n\nSo why bother?<\/strong><\/p>\n\n\n\nI am interested in further resemiologizing the eco-echo-spacing mode of socially engaged art and articulating such in a more site-specific, sinographic set of idioms. I focus on the dynamic ambience of Huang\u2019s translingual and social dreamwork, inseparable from her teamwork as well as her own artwork, because there I see how the pregressive level of its praxis also mirrors and reinforces its formative bioenergetics (qi<\/em> \u6c14\/\u6c17), not just its morphology; this way, the framing and the framed become reciprocally generative.<\/p>\n\n\n\nPerhaps this is how a Daoist sensor<\/em>ship works as a mode of (counter-)demonstration too. See how a critical intervention happens through and concurs with a counterbalancing perceptual move: observe the convoluted yet stabilized shaking, the shake-up in the middle of it, swift and quiet, potential or actual, literal or metaphoric, the phenomenological and material presence of the other move, its necessary messiness, however mini or contained. What prompts all that jazz, this network of collaboration, if not the work of netting and knitting per se? Huang\u2019s structurally contingent, makeshift production of proletariat calligrammatology through socially synergetic artistic practices presents a matrixially autographic \u201cX\u201d without presetting or representing \u201cit\u201d (X) while proregressively renewing each one in the form of auto-archival backtracking and recasting.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Song Chengbao part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nInvolved here is a constant passive-active glancing back and forth, the active gaze of the artist, also visually metonymized in the two (pair-able) paintings of a tight-lipped, stubborn-looking little girl at the back leading to the reading room of the house (Next to the water 01<\/em>, 2016) and a middle-aged woman in front framing the living room, who looks like a world-weary Chinese Athena today (Next to the water 03<\/em>, 2018). \u201cIf writing is the mother of the comatose archive,\u201d as the artist writes, \u201cexhibiting could be the rehearsal hall for a brief spell of somnambulation,\u201d where that girl turning around to look at you, that haunting one, could be you, any one of, in the past or future, just as that lady resting there for a while in the middle of some group tour could be anywhere, anyone.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Oil painting \u201cNext to the water 03\u201d by Huang Jingyuan), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nFurther telling is the position of those two paintings triangulated by one in between, an image of a (pregnant?) girl and a boy holding each other (Next to the water 02<\/em>, 2017). The pregressive circularity of and bordered connections among three female figures, only visually signified here, functions like an ur-text (of contemporary China in the making?) that seems already fragmented as if pre-indexed. By proactively staging counterfragmentations as a series of shout-outs, however small or seemingly secondary, Huang\u2019s anarchive, along with the pregressive vacating of its own vocal subjectivity, effects the autocuration of an eclectically free \u201cwe\u201d, the sort of intersubject not as strongly present in more elitist and individualistic \u201cother Western\u201d figures such as Emily Dickinson or Walter Benjamin, those also focused on the fragment(ed)o(nto)logy of documented lives.<\/p>\n\n\n\nWhat would those writers from other shores have seen in this \u201cother\u201d writing?<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nThe rustic, quietly irreducible residency of the graphic bodies dynamically distributed and detailed in small pieces of papers and big pictures held together in their chrono-diverse proregressivity, pregressively<\/em> intensifies the very blurry overlap between the visual and the \u201cverbal\u201d which, in the case of Chinese characters, is close to visuo-musical. Right to Write<\/em> as a right to play de-monolingualizes and re-quotidianizes the very norms, practices, and scenes of writing, and the artwork itself, the platform that looks but is not flat, unfolds through a serially inclusive, transformatively collective aesthetic democratization, especially an asynchronic remin<\/em>ification with other \u201cChinese characteristics,\u201d of a Right to Write<\/em>.<\/p>\n\n\n\nThis could perhaps be one way to split open and empower alternative social (including socialist or is it now post-socialist?) tracks within China today, in and outside her hyper-controlled politico-economic landscapes and turbo dreams. This idea of a democalligraphic u-topia remains highly speculative and yet it is at least an idea. On my way out of the Shanghai Biennale, right past Museums, Money and Politics<\/em> (2018), Andrea Fraser\u2019s map of the US shown in China today, another visualization of the \u201cverbal,\u201d I thought, yes, \u201cright: to write _____\u201d alone together would be an idea \u2014 especially to write along with others in a corner room of ones\u2019<\/em> own belonging to a stately house that used to be a power station, yes, power.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Xu Shida part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nKyoo Lee<\/strong>, a member of AICA-USA, a Professor of Philosophy, Gender Studies and Justice Studies at the City University of New York, and the author of Reading Descartes Otherwise <\/em>and Writing Entanglish<\/em>, is a transdisciplinary philosopher, art\/cultural\/literary critic and writer.<\/p>\n\n\n\nA recipient of fellowships and visiting appointments from Cambridge University, CUNY Graduate Center, KIAS, the Mellon Foundation, the NEH, Seoul National University, Yanbian University, among others, her philopoetic texts have appeared in AICA-USA Magazine<\/em>, Asian American Literary Review<\/em>, The Brooklyn Rail<\/em>, Flash Art<\/em>, PN Review<\/em>, Randian,<\/em> The Volta<\/em> and the White Review<\/em> as well as numerous academic journals and anthologies. Her Mellon-funded anthology, Queenzenglish.mp3<\/em>: poetry | philosophy | performativity<\/em>, with contributions from 50+ poets, musicians, theorists and performance artists from across the globe, is forthcoming.<\/p>\n\n\n\nThe co-editor of philo<\/em>SOPHIA: A Journal of trans<\/em>Continental Feminism, she also serves on the editorial boards of Asian Journal of Women\u2019s Studies<\/em>, Bloomsbury Studies in Critical Poetics<\/em>, Open Humanities Press<\/em>, Simon de Beauvoir Studies<\/em> and Women\u2019s Studies Quarterly<\/em>.<\/p>\n\n\n\nThroughout her site-specific cogitographical practices, Q Professor Lee explores co-generative links between critical theory and creative prose including \u201cart writing\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"by Kyoo Lee First published in\u00a0Flash Art … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":136,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[84,57,59,82,60,58,61,81,29,75,69,85,83],"yoast_head":"\n\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"by Kyoo Lee First published in\u00a0Flash Art … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2020-10-11T07:51:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-09-06T01:26:37+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/en\/7.png\" \/>\n\t<meta property=\"og:image:width\" content=\"660\" \/>\n\t<meta property=\"og:image:height\" content=\"387\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"superadminRD\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"superadminRD\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\"},\"author\":{\"name\":\"superadminRD\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/c7d92db3b24a5db940c35ad50d444bbc\"},\"headline\":\"\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia\",\"datePublished\":\"2020-10-11T07:51:00+00:00\",\"dateModified\":\"2022-09-06T01:26:37+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\"},\"wordCount\":2496,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"12th Shanghai Biennale\",\"calligraphy\",\"Flash Art\",\"Huang Jing Yuan\",\"Huang Jingyuan\",\"Kyoo Lee\",\"Liang Shuhan\",\"Power Station of Art\",\"Ran Dian\",\"review\",\"Shanghai\",\"Shanghai Biennale\",\"Xu Liangyuan\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\",\"url\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\",\"name\":\"\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - 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![<\/a>\u201cThe Right to Write\u201d, Installation view (Xu Liangyuan part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nSo what?<\/strong><\/p>\n\n\n\nLooking back, what initially attracted me was this concept behind the current edition of the Shanghai Biennale: \u201cproregress,\u201d a curious head-scratcher from poet-painter-playwright E. E. Cummings, whose works countered the ideology of progress, the discourse against which one is supposed to feel under- or over-developed or still developing. At the Biennale, the curatorial team has brilliantly recontextualized proregress as the correlate to a mystical dance step, \u79b9\u6b65 (yubu<\/em>), in the ancient Daoist ritual: a twisted bi-directional movement composed of stepping forward once and backward twice. In its contraction, proregress holds together the scrambled eggy steps of choreographic time across this chiastic zone of modern\/postmodern\/spatiotemporal contemporaneity and simplexity, \u201cactually absorbing,\u201d as the biennial\u2019s chief curator Cuauht\u00e9moc Medina aptly puts it, \u201cthe weight of this moment in time,\u201d all the complications and entanglements that time itself seems to endure now and nowadays as if forever.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, floor, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nHuang\u2019s Right to Write<\/em> is, again, an illuminating case in point, a vibrant work in proregress. An imaginatively populated and democratically polyvocalized why-not, this choral space for an archival future honors without trying to harmonize the life experiences of the xiaorenmin<\/em> (xiao <\/em>small, renmin<\/em> people as in People\u2019s Republic of China). She choreographs their microsignatory gestures by unleashing and rechanneling their expressive, and at times lyrical, potentials \u2014 through and toward the collaborative platforming of their auto-ethnographic or auto-documentary work. This mode of socially participatory art is literally process-oriented since the work in network, at every step, materializes through co-creative dialogues; the artist is there not to validate or authorize but as a sort of midwife. As a series of counter-proscriptive and co-scriptive experimentations in open-ended collaborations, Right to Write<\/em> (or to read) becomes a site-specific, de<\/em>scriptively proregressive exploration and analog data-visualization of a polycentric democalligraphic utopia \u2014 pre<\/em>gressive, even (walking along <\/em>as if ahead<\/em>\/around\/back and forth<\/em>).<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Chen Jianhe part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nWhat is the condition that makes progressive and regressive moment, itself so ambivalently (with)held, possible? Such a Kantian quest could be recast in the spirit of daoist proregressivity too: pushing for \u201cpregressing,\u201d I\u2019m transporting this idea that dao<\/em> (way\/route \u9053) is \u201cin the making\u201d (\u9053\u884c\u4e4b\u800c\u6210), not simply made, as in the second chapter of the Zhuangzi<\/em> (\u838a\u5b50), which showcases the egalitarianism of Daoist philopoetics. Pregress (\u9053\u884c), a Daoist practice of \u201cfollowing\u201d Dao, is an instantaneous auto-spacing and pacing, an improvisational performance per<\/em> form (of its own), which is not to say that the pregressor is an \u201cavant-garde\u201d walker or mover, for she \u201cadvances\u201d not<\/em>. Rather, yubu<\/em>-ing more or less, she lingers with her neighbors and moves with or without them, as necessary, while passing through various walls, connecting the dots here and there. In short, pregress points to choral timing<\/em> and spacing<\/em> itself \u2014 or herself \u2014 embodied in its vehicular dao<\/em>, namely, passages and processes including protocols in motion.<\/p>\n\n\n\nSo why bother?<\/strong><\/p>\n\n\n\nI am interested in further resemiologizing the eco-echo-spacing mode of socially engaged art and articulating such in a more site-specific, sinographic set of idioms. I focus on the dynamic ambience of Huang\u2019s translingual and social dreamwork, inseparable from her teamwork as well as her own artwork, because there I see how the pregressive level of its praxis also mirrors and reinforces its formative bioenergetics (qi<\/em> \u6c14\/\u6c17), not just its morphology; this way, the framing and the framed become reciprocally generative.<\/p>\n\n\n\nPerhaps this is how a Daoist sensor<\/em>ship works as a mode of (counter-)demonstration too. See how a critical intervention happens through and concurs with a counterbalancing perceptual move: observe the convoluted yet stabilized shaking, the shake-up in the middle of it, swift and quiet, potential or actual, literal or metaphoric, the phenomenological and material presence of the other move, its necessary messiness, however mini or contained. What prompts all that jazz, this network of collaboration, if not the work of netting and knitting per se? Huang\u2019s structurally contingent, makeshift production of proletariat calligrammatology through socially synergetic artistic practices presents a matrixially autographic \u201cX\u201d without presetting or representing \u201cit\u201d (X) while proregressively renewing each one in the form of auto-archival backtracking and recasting.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Song Chengbao part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nInvolved here is a constant passive-active glancing back and forth, the active gaze of the artist, also visually metonymized in the two (pair-able) paintings of a tight-lipped, stubborn-looking little girl at the back leading to the reading room of the house (Next to the water 01<\/em>, 2016) and a middle-aged woman in front framing the living room, who looks like a world-weary Chinese Athena today (Next to the water 03<\/em>, 2018). \u201cIf writing is the mother of the comatose archive,\u201d as the artist writes, \u201cexhibiting could be the rehearsal hall for a brief spell of somnambulation,\u201d where that girl turning around to look at you, that haunting one, could be you, any one of, in the past or future, just as that lady resting there for a while in the middle of some group tour could be anywhere, anyone.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Oil painting \u201cNext to the water 03\u201d by Huang Jingyuan), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nFurther telling is the position of those two paintings triangulated by one in between, an image of a (pregnant?) girl and a boy holding each other (Next to the water 02<\/em>, 2017). The pregressive circularity of and bordered connections among three female figures, only visually signified here, functions like an ur-text (of contemporary China in the making?) that seems already fragmented as if pre-indexed. By proactively staging counterfragmentations as a series of shout-outs, however small or seemingly secondary, Huang\u2019s anarchive, along with the pregressive vacating of its own vocal subjectivity, effects the autocuration of an eclectically free \u201cwe\u201d, the sort of intersubject not as strongly present in more elitist and individualistic \u201cother Western\u201d figures such as Emily Dickinson or Walter Benjamin, those also focused on the fragment(ed)o(nto)logy of documented lives.<\/p>\n\n\n\nWhat would those writers from other shores have seen in this \u201cother\u201d writing?<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nThe rustic, quietly irreducible residency of the graphic bodies dynamically distributed and detailed in small pieces of papers and big pictures held together in their chrono-diverse proregressivity, pregressively<\/em> intensifies the very blurry overlap between the visual and the \u201cverbal\u201d which, in the case of Chinese characters, is close to visuo-musical. Right to Write<\/em> as a right to play de-monolingualizes and re-quotidianizes the very norms, practices, and scenes of writing, and the artwork itself, the platform that looks but is not flat, unfolds through a serially inclusive, transformatively collective aesthetic democratization, especially an asynchronic remin<\/em>ification with other \u201cChinese characteristics,\u201d of a Right to Write<\/em>.<\/p>\n\n\n\nThis could perhaps be one way to split open and empower alternative social (including socialist or is it now post-socialist?) tracks within China today, in and outside her hyper-controlled politico-economic landscapes and turbo dreams. This idea of a democalligraphic u-topia remains highly speculative and yet it is at least an idea. On my way out of the Shanghai Biennale, right past Museums, Money and Politics<\/em> (2018), Andrea Fraser\u2019s map of the US shown in China today, another visualization of the \u201cverbal,\u201d I thought, yes, \u201cright: to write _____\u201d alone together would be an idea \u2014 especially to write along with others in a corner room of ones\u2019<\/em> own belonging to a stately house that used to be a power station, yes, power.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Xu Shida part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nKyoo Lee<\/strong>, a member of AICA-USA, a Professor of Philosophy, Gender Studies and Justice Studies at the City University of New York, and the author of Reading Descartes Otherwise <\/em>and Writing Entanglish<\/em>, is a transdisciplinary philosopher, art\/cultural\/literary critic and writer.<\/p>\n\n\n\nA recipient of fellowships and visiting appointments from Cambridge University, CUNY Graduate Center, KIAS, the Mellon Foundation, the NEH, Seoul National University, Yanbian University, among others, her philopoetic texts have appeared in AICA-USA Magazine<\/em>, Asian American Literary Review<\/em>, The Brooklyn Rail<\/em>, Flash Art<\/em>, PN Review<\/em>, Randian,<\/em> The Volta<\/em> and the White Review<\/em> as well as numerous academic journals and anthologies. Her Mellon-funded anthology, Queenzenglish.mp3<\/em>: poetry | philosophy | performativity<\/em>, with contributions from 50+ poets, musicians, theorists and performance artists from across the globe, is forthcoming.<\/p>\n\n\n\nThe co-editor of philo<\/em>SOPHIA: A Journal of trans<\/em>Continental Feminism, she also serves on the editorial boards of Asian Journal of Women\u2019s Studies<\/em>, Bloomsbury Studies in Critical Poetics<\/em>, Open Humanities Press<\/em>, Simon de Beauvoir Studies<\/em> and Women\u2019s Studies Quarterly<\/em>.<\/p>\n\n\n\nThroughout her site-specific cogitographical practices, Q Professor Lee explores co-generative links between critical theory and creative prose including \u201cart writing\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"by Kyoo Lee First published in\u00a0Flash Art … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":136,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[84,57,59,82,60,58,61,81,29,75,69,85,83],"yoast_head":"\n\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"by Kyoo Lee First published in\u00a0Flash Art … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2020-10-11T07:51:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-09-06T01:26:37+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/en\/7.png\" \/>\n\t<meta property=\"og:image:width\" content=\"660\" \/>\n\t<meta property=\"og:image:height\" content=\"387\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"superadminRD\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"superadminRD\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\"},\"author\":{\"name\":\"superadminRD\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/c7d92db3b24a5db940c35ad50d444bbc\"},\"headline\":\"\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia\",\"datePublished\":\"2020-10-11T07:51:00+00:00\",\"dateModified\":\"2022-09-06T01:26:37+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\"},\"wordCount\":2496,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"12th Shanghai Biennale\",\"calligraphy\",\"Flash Art\",\"Huang Jing Yuan\",\"Huang Jingyuan\",\"Kyoo Lee\",\"Liang Shuhan\",\"Power Station of Art\",\"Ran Dian\",\"review\",\"Shanghai\",\"Shanghai Biennale\",\"Xu Liangyuan\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\",\"url\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\",\"name\":\"\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - 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![<\/a>\u201cThe Right to Write\u201d, floor, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nHuang\u2019s Right to Write<\/em> is, again, an illuminating case in point, a vibrant work in proregress. An imaginatively populated and democratically polyvocalized why-not, this choral space for an archival future honors without trying to harmonize the life experiences of the xiaorenmin<\/em> (xiao <\/em>small, renmin<\/em> people as in People\u2019s Republic of China). She choreographs their microsignatory gestures by unleashing and rechanneling their expressive, and at times lyrical, potentials \u2014 through and toward the collaborative platforming of their auto-ethnographic or auto-documentary work. This mode of socially participatory art is literally process-oriented since the work in network, at every step, materializes through co-creative dialogues; the artist is there not to validate or authorize but as a sort of midwife. As a series of counter-proscriptive and co-scriptive experimentations in open-ended collaborations, Right to Write<\/em> (or to read) becomes a site-specific, de<\/em>scriptively proregressive exploration and analog data-visualization of a polycentric democalligraphic utopia \u2014 pre<\/em>gressive, even (walking along <\/em>as if ahead<\/em>\/around\/back and forth<\/em>).<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Chen Jianhe part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nWhat is the condition that makes progressive and regressive moment, itself so ambivalently (with)held, possible? Such a Kantian quest could be recast in the spirit of daoist proregressivity too: pushing for \u201cpregressing,\u201d I\u2019m transporting this idea that dao<\/em> (way\/route \u9053) is \u201cin the making\u201d (\u9053\u884c\u4e4b\u800c\u6210), not simply made, as in the second chapter of the Zhuangzi<\/em> (\u838a\u5b50), which showcases the egalitarianism of Daoist philopoetics. Pregress (\u9053\u884c), a Daoist practice of \u201cfollowing\u201d Dao, is an instantaneous auto-spacing and pacing, an improvisational performance per<\/em> form (of its own), which is not to say that the pregressor is an \u201cavant-garde\u201d walker or mover, for she \u201cadvances\u201d not<\/em>. Rather, yubu<\/em>-ing more or less, she lingers with her neighbors and moves with or without them, as necessary, while passing through various walls, connecting the dots here and there. In short, pregress points to choral timing<\/em> and spacing<\/em> itself \u2014 or herself \u2014 embodied in its vehicular dao<\/em>, namely, passages and processes including protocols in motion.<\/p>\n\n\n\nSo why bother?<\/strong><\/p>\n\n\n\nI am interested in further resemiologizing the eco-echo-spacing mode of socially engaged art and articulating such in a more site-specific, sinographic set of idioms. I focus on the dynamic ambience of Huang\u2019s translingual and social dreamwork, inseparable from her teamwork as well as her own artwork, because there I see how the pregressive level of its praxis also mirrors and reinforces its formative bioenergetics (qi<\/em> \u6c14\/\u6c17), not just its morphology; this way, the framing and the framed become reciprocally generative.<\/p>\n\n\n\nPerhaps this is how a Daoist sensor<\/em>ship works as a mode of (counter-)demonstration too. See how a critical intervention happens through and concurs with a counterbalancing perceptual move: observe the convoluted yet stabilized shaking, the shake-up in the middle of it, swift and quiet, potential or actual, literal or metaphoric, the phenomenological and material presence of the other move, its necessary messiness, however mini or contained. What prompts all that jazz, this network of collaboration, if not the work of netting and knitting per se? Huang\u2019s structurally contingent, makeshift production of proletariat calligrammatology through socially synergetic artistic practices presents a matrixially autographic \u201cX\u201d without presetting or representing \u201cit\u201d (X) while proregressively renewing each one in the form of auto-archival backtracking and recasting.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Song Chengbao part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nInvolved here is a constant passive-active glancing back and forth, the active gaze of the artist, also visually metonymized in the two (pair-able) paintings of a tight-lipped, stubborn-looking little girl at the back leading to the reading room of the house (Next to the water 01<\/em>, 2016) and a middle-aged woman in front framing the living room, who looks like a world-weary Chinese Athena today (Next to the water 03<\/em>, 2018). \u201cIf writing is the mother of the comatose archive,\u201d as the artist writes, \u201cexhibiting could be the rehearsal hall for a brief spell of somnambulation,\u201d where that girl turning around to look at you, that haunting one, could be you, any one of, in the past or future, just as that lady resting there for a while in the middle of some group tour could be anywhere, anyone.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Oil painting \u201cNext to the water 03\u201d by Huang Jingyuan), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nFurther telling is the position of those two paintings triangulated by one in between, an image of a (pregnant?) girl and a boy holding each other (Next to the water 02<\/em>, 2017). The pregressive circularity of and bordered connections among three female figures, only visually signified here, functions like an ur-text (of contemporary China in the making?) that seems already fragmented as if pre-indexed. By proactively staging counterfragmentations as a series of shout-outs, however small or seemingly secondary, Huang\u2019s anarchive, along with the pregressive vacating of its own vocal subjectivity, effects the autocuration of an eclectically free \u201cwe\u201d, the sort of intersubject not as strongly present in more elitist and individualistic \u201cother Western\u201d figures such as Emily Dickinson or Walter Benjamin, those also focused on the fragment(ed)o(nto)logy of documented lives.<\/p>\n\n\n\nWhat would those writers from other shores have seen in this \u201cother\u201d writing?<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nThe rustic, quietly irreducible residency of the graphic bodies dynamically distributed and detailed in small pieces of papers and big pictures held together in their chrono-diverse proregressivity, pregressively<\/em> intensifies the very blurry overlap between the visual and the \u201cverbal\u201d which, in the case of Chinese characters, is close to visuo-musical. Right to Write<\/em> as a right to play de-monolingualizes and re-quotidianizes the very norms, practices, and scenes of writing, and the artwork itself, the platform that looks but is not flat, unfolds through a serially inclusive, transformatively collective aesthetic democratization, especially an asynchronic remin<\/em>ification with other \u201cChinese characteristics,\u201d of a Right to Write<\/em>.<\/p>\n\n\n\nThis could perhaps be one way to split open and empower alternative social (including socialist or is it now post-socialist?) tracks within China today, in and outside her hyper-controlled politico-economic landscapes and turbo dreams. This idea of a democalligraphic u-topia remains highly speculative and yet it is at least an idea. On my way out of the Shanghai Biennale, right past Museums, Money and Politics<\/em> (2018), Andrea Fraser\u2019s map of the US shown in China today, another visualization of the \u201cverbal,\u201d I thought, yes, \u201cright: to write _____\u201d alone together would be an idea \u2014 especially to write along with others in a corner room of ones\u2019<\/em> own belonging to a stately house that used to be a power station, yes, power.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Xu Shida part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nKyoo Lee<\/strong>, a member of AICA-USA, a Professor of Philosophy, Gender Studies and Justice Studies at the City University of New York, and the author of Reading Descartes Otherwise <\/em>and Writing Entanglish<\/em>, is a transdisciplinary philosopher, art\/cultural\/literary critic and writer.<\/p>\n\n\n\nA recipient of fellowships and visiting appointments from Cambridge University, CUNY Graduate Center, KIAS, the Mellon Foundation, the NEH, Seoul National University, Yanbian University, among others, her philopoetic texts have appeared in AICA-USA Magazine<\/em>, Asian American Literary Review<\/em>, The Brooklyn Rail<\/em>, Flash Art<\/em>, PN Review<\/em>, Randian,<\/em> The Volta<\/em> and the White Review<\/em> as well as numerous academic journals and anthologies. Her Mellon-funded anthology, Queenzenglish.mp3<\/em>: poetry | philosophy | performativity<\/em>, with contributions from 50+ poets, musicians, theorists and performance artists from across the globe, is forthcoming.<\/p>\n\n\n\nThe co-editor of philo<\/em>SOPHIA: A Journal of trans<\/em>Continental Feminism, she also serves on the editorial boards of Asian Journal of Women\u2019s Studies<\/em>, Bloomsbury Studies in Critical Poetics<\/em>, Open Humanities Press<\/em>, Simon de Beauvoir Studies<\/em> and Women\u2019s Studies Quarterly<\/em>.<\/p>\n\n\n\nThroughout her site-specific cogitographical practices, Q Professor Lee explores co-generative links between critical theory and creative prose including \u201cart writing\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"by Kyoo Lee First published in\u00a0Flash Art … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":136,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[84,57,59,82,60,58,61,81,29,75,69,85,83],"yoast_head":"\n\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"by Kyoo Lee First published in\u00a0Flash Art … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2020-10-11T07:51:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-09-06T01:26:37+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/en\/7.png\" \/>\n\t<meta property=\"og:image:width\" content=\"660\" \/>\n\t<meta property=\"og:image:height\" content=\"387\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"superadminRD\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"superadminRD\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\"},\"author\":{\"name\":\"superadminRD\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/c7d92db3b24a5db940c35ad50d444bbc\"},\"headline\":\"\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia\",\"datePublished\":\"2020-10-11T07:51:00+00:00\",\"dateModified\":\"2022-09-06T01:26:37+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\"},\"wordCount\":2496,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"12th Shanghai Biennale\",\"calligraphy\",\"Flash Art\",\"Huang Jing Yuan\",\"Huang Jingyuan\",\"Kyoo Lee\",\"Liang Shuhan\",\"Power Station of Art\",\"Ran Dian\",\"review\",\"Shanghai\",\"Shanghai Biennale\",\"Xu Liangyuan\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\",\"url\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\",\"name\":\"\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - 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![<\/a>\u201cThe Right to Write\u201d, Installation view (Chen Jianhe part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nWhat is the condition that makes progressive and regressive moment, itself so ambivalently (with)held, possible? Such a Kantian quest could be recast in the spirit of daoist proregressivity too: pushing for \u201cpregressing,\u201d I\u2019m transporting this idea that dao<\/em> (way\/route \u9053) is \u201cin the making\u201d (\u9053\u884c\u4e4b\u800c\u6210), not simply made, as in the second chapter of the Zhuangzi<\/em> (\u838a\u5b50), which showcases the egalitarianism of Daoist philopoetics. Pregress (\u9053\u884c), a Daoist practice of \u201cfollowing\u201d Dao, is an instantaneous auto-spacing and pacing, an improvisational performance per<\/em> form (of its own), which is not to say that the pregressor is an \u201cavant-garde\u201d walker or mover, for she \u201cadvances\u201d not<\/em>. Rather, yubu<\/em>-ing more or less, she lingers with her neighbors and moves with or without them, as necessary, while passing through various walls, connecting the dots here and there. In short, pregress points to choral timing<\/em> and spacing<\/em> itself \u2014 or herself \u2014 embodied in its vehicular dao<\/em>, namely, passages and processes including protocols in motion.<\/p>\n\n\n\nSo why bother?<\/strong><\/p>\n\n\n\nI am interested in further resemiologizing the eco-echo-spacing mode of socially engaged art and articulating such in a more site-specific, sinographic set of idioms. I focus on the dynamic ambience of Huang\u2019s translingual and social dreamwork, inseparable from her teamwork as well as her own artwork, because there I see how the pregressive level of its praxis also mirrors and reinforces its formative bioenergetics (qi<\/em> \u6c14\/\u6c17), not just its morphology; this way, the framing and the framed become reciprocally generative.<\/p>\n\n\n\nPerhaps this is how a Daoist sensor<\/em>ship works as a mode of (counter-)demonstration too. See how a critical intervention happens through and concurs with a counterbalancing perceptual move: observe the convoluted yet stabilized shaking, the shake-up in the middle of it, swift and quiet, potential or actual, literal or metaphoric, the phenomenological and material presence of the other move, its necessary messiness, however mini or contained. What prompts all that jazz, this network of collaboration, if not the work of netting and knitting per se? Huang\u2019s structurally contingent, makeshift production of proletariat calligrammatology through socially synergetic artistic practices presents a matrixially autographic \u201cX\u201d without presetting or representing \u201cit\u201d (X) while proregressively renewing each one in the form of auto-archival backtracking and recasting.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Song Chengbao part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nInvolved here is a constant passive-active glancing back and forth, the active gaze of the artist, also visually metonymized in the two (pair-able) paintings of a tight-lipped, stubborn-looking little girl at the back leading to the reading room of the house (Next to the water 01<\/em>, 2016) and a middle-aged woman in front framing the living room, who looks like a world-weary Chinese Athena today (Next to the water 03<\/em>, 2018). \u201cIf writing is the mother of the comatose archive,\u201d as the artist writes, \u201cexhibiting could be the rehearsal hall for a brief spell of somnambulation,\u201d where that girl turning around to look at you, that haunting one, could be you, any one of, in the past or future, just as that lady resting there for a while in the middle of some group tour could be anywhere, anyone.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Oil painting \u201cNext to the water 03\u201d by Huang Jingyuan), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nFurther telling is the position of those two paintings triangulated by one in between, an image of a (pregnant?) girl and a boy holding each other (Next to the water 02<\/em>, 2017). The pregressive circularity of and bordered connections among three female figures, only visually signified here, functions like an ur-text (of contemporary China in the making?) that seems already fragmented as if pre-indexed. By proactively staging counterfragmentations as a series of shout-outs, however small or seemingly secondary, Huang\u2019s anarchive, along with the pregressive vacating of its own vocal subjectivity, effects the autocuration of an eclectically free \u201cwe\u201d, the sort of intersubject not as strongly present in more elitist and individualistic \u201cother Western\u201d figures such as Emily Dickinson or Walter Benjamin, those also focused on the fragment(ed)o(nto)logy of documented lives.<\/p>\n\n\n\nWhat would those writers from other shores have seen in this \u201cother\u201d writing?<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nThe rustic, quietly irreducible residency of the graphic bodies dynamically distributed and detailed in small pieces of papers and big pictures held together in their chrono-diverse proregressivity, pregressively<\/em> intensifies the very blurry overlap between the visual and the \u201cverbal\u201d which, in the case of Chinese characters, is close to visuo-musical. Right to Write<\/em> as a right to play de-monolingualizes and re-quotidianizes the very norms, practices, and scenes of writing, and the artwork itself, the platform that looks but is not flat, unfolds through a serially inclusive, transformatively collective aesthetic democratization, especially an asynchronic remin<\/em>ification with other \u201cChinese characteristics,\u201d of a Right to Write<\/em>.<\/p>\n\n\n\nThis could perhaps be one way to split open and empower alternative social (including socialist or is it now post-socialist?) tracks within China today, in and outside her hyper-controlled politico-economic landscapes and turbo dreams. This idea of a democalligraphic u-topia remains highly speculative and yet it is at least an idea. On my way out of the Shanghai Biennale, right past Museums, Money and Politics<\/em> (2018), Andrea Fraser\u2019s map of the US shown in China today, another visualization of the \u201cverbal,\u201d I thought, yes, \u201cright: to write _____\u201d alone together would be an idea \u2014 especially to write along with others in a corner room of ones\u2019<\/em> own belonging to a stately house that used to be a power station, yes, power.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Xu Shida part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nKyoo Lee<\/strong>, a member of AICA-USA, a Professor of Philosophy, Gender Studies and Justice Studies at the City University of New York, and the author of Reading Descartes Otherwise <\/em>and Writing Entanglish<\/em>, is a transdisciplinary philosopher, art\/cultural\/literary critic and writer.<\/p>\n\n\n\nA recipient of fellowships and visiting appointments from Cambridge University, CUNY Graduate Center, KIAS, the Mellon Foundation, the NEH, Seoul National University, Yanbian University, among others, her philopoetic texts have appeared in AICA-USA Magazine<\/em>, Asian American Literary Review<\/em>, The Brooklyn Rail<\/em>, Flash Art<\/em>, PN Review<\/em>, Randian,<\/em> The Volta<\/em> and the White Review<\/em> as well as numerous academic journals and anthologies. Her Mellon-funded anthology, Queenzenglish.mp3<\/em>: poetry | philosophy | performativity<\/em>, with contributions from 50+ poets, musicians, theorists and performance artists from across the globe, is forthcoming.<\/p>\n\n\n\nThe co-editor of philo<\/em>SOPHIA: A Journal of trans<\/em>Continental Feminism, she also serves on the editorial boards of Asian Journal of Women\u2019s Studies<\/em>, Bloomsbury Studies in Critical Poetics<\/em>, Open Humanities Press<\/em>, Simon de Beauvoir Studies<\/em> and Women\u2019s Studies Quarterly<\/em>.<\/p>\n\n\n\nThroughout her site-specific cogitographical practices, Q Professor Lee explores co-generative links between critical theory and creative prose including \u201cart writing\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"by Kyoo Lee First published in\u00a0Flash Art … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":136,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[84,57,59,82,60,58,61,81,29,75,69,85,83],"yoast_head":"\n\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"by Kyoo Lee First published in\u00a0Flash Art … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2020-10-11T07:51:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-09-06T01:26:37+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/en\/7.png\" \/>\n\t<meta property=\"og:image:width\" content=\"660\" \/>\n\t<meta property=\"og:image:height\" content=\"387\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"superadminRD\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"superadminRD\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\"},\"author\":{\"name\":\"superadminRD\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/c7d92db3b24a5db940c35ad50d444bbc\"},\"headline\":\"\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia\",\"datePublished\":\"2020-10-11T07:51:00+00:00\",\"dateModified\":\"2022-09-06T01:26:37+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\"},\"wordCount\":2496,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"12th Shanghai Biennale\",\"calligraphy\",\"Flash Art\",\"Huang Jing Yuan\",\"Huang Jingyuan\",\"Kyoo Lee\",\"Liang Shuhan\",\"Power Station of Art\",\"Ran Dian\",\"review\",\"Shanghai\",\"Shanghai Biennale\",\"Xu Liangyuan\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\",\"url\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\",\"name\":\"\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - 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![<\/a>\u201cThe Right to Write\u201d, Installation view (Song Chengbao part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nInvolved here is a constant passive-active glancing back and forth, the active gaze of the artist, also visually metonymized in the two (pair-able) paintings of a tight-lipped, stubborn-looking little girl at the back leading to the reading room of the house (Next to the water 01<\/em>, 2016) and a middle-aged woman in front framing the living room, who looks like a world-weary Chinese Athena today (Next to the water 03<\/em>, 2018). \u201cIf writing is the mother of the comatose archive,\u201d as the artist writes, \u201cexhibiting could be the rehearsal hall for a brief spell of somnambulation,\u201d where that girl turning around to look at you, that haunting one, could be you, any one of, in the past or future, just as that lady resting there for a while in the middle of some group tour could be anywhere, anyone.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Oil painting \u201cNext to the water 03\u201d by Huang Jingyuan), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nFurther telling is the position of those two paintings triangulated by one in between, an image of a (pregnant?) girl and a boy holding each other (Next to the water 02<\/em>, 2017). The pregressive circularity of and bordered connections among three female figures, only visually signified here, functions like an ur-text (of contemporary China in the making?) that seems already fragmented as if pre-indexed. By proactively staging counterfragmentations as a series of shout-outs, however small or seemingly secondary, Huang\u2019s anarchive, along with the pregressive vacating of its own vocal subjectivity, effects the autocuration of an eclectically free \u201cwe\u201d, the sort of intersubject not as strongly present in more elitist and individualistic \u201cother Western\u201d figures such as Emily Dickinson or Walter Benjamin, those also focused on the fragment(ed)o(nto)logy of documented lives.<\/p>\n\n\n\nWhat would those writers from other shores have seen in this \u201cother\u201d writing?<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nThe rustic, quietly irreducible residency of the graphic bodies dynamically distributed and detailed in small pieces of papers and big pictures held together in their chrono-diverse proregressivity, pregressively<\/em> intensifies the very blurry overlap between the visual and the \u201cverbal\u201d which, in the case of Chinese characters, is close to visuo-musical. Right to Write<\/em> as a right to play de-monolingualizes and re-quotidianizes the very norms, practices, and scenes of writing, and the artwork itself, the platform that looks but is not flat, unfolds through a serially inclusive, transformatively collective aesthetic democratization, especially an asynchronic remin<\/em>ification with other \u201cChinese characteristics,\u201d of a Right to Write<\/em>.<\/p>\n\n\n\nThis could perhaps be one way to split open and empower alternative social (including socialist or is it now post-socialist?) tracks within China today, in and outside her hyper-controlled politico-economic landscapes and turbo dreams. This idea of a democalligraphic u-topia remains highly speculative and yet it is at least an idea. On my way out of the Shanghai Biennale, right past Museums, Money and Politics<\/em> (2018), Andrea Fraser\u2019s map of the US shown in China today, another visualization of the \u201cverbal,\u201d I thought, yes, \u201cright: to write _____\u201d alone together would be an idea \u2014 especially to write along with others in a corner room of ones\u2019<\/em> own belonging to a stately house that used to be a power station, yes, power.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Xu Shida part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nKyoo Lee<\/strong>, a member of AICA-USA, a Professor of Philosophy, Gender Studies and Justice Studies at the City University of New York, and the author of Reading Descartes Otherwise <\/em>and Writing Entanglish<\/em>, is a transdisciplinary philosopher, art\/cultural\/literary critic and writer.<\/p>\n\n\n\nA recipient of fellowships and visiting appointments from Cambridge University, CUNY Graduate Center, KIAS, the Mellon Foundation, the NEH, Seoul National University, Yanbian University, among others, her philopoetic texts have appeared in AICA-USA Magazine<\/em>, Asian American Literary Review<\/em>, The Brooklyn Rail<\/em>, Flash Art<\/em>, PN Review<\/em>, Randian,<\/em> The Volta<\/em> and the White Review<\/em> as well as numerous academic journals and anthologies. Her Mellon-funded anthology, Queenzenglish.mp3<\/em>: poetry | philosophy | performativity<\/em>, with contributions from 50+ poets, musicians, theorists and performance artists from across the globe, is forthcoming.<\/p>\n\n\n\nThe co-editor of philo<\/em>SOPHIA: A Journal of trans<\/em>Continental Feminism, she also serves on the editorial boards of Asian Journal of Women\u2019s Studies<\/em>, Bloomsbury Studies in Critical Poetics<\/em>, Open Humanities Press<\/em>, Simon de Beauvoir Studies<\/em> and Women\u2019s Studies Quarterly<\/em>.<\/p>\n\n\n\nThroughout her site-specific cogitographical practices, Q Professor Lee explores co-generative links between critical theory and creative prose including \u201cart writing\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"by Kyoo Lee First published in\u00a0Flash Art … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":136,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[84,57,59,82,60,58,61,81,29,75,69,85,83],"yoast_head":"\n\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"by Kyoo Lee First published in\u00a0Flash Art … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2020-10-11T07:51:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-09-06T01:26:37+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/en\/7.png\" \/>\n\t<meta property=\"og:image:width\" content=\"660\" \/>\n\t<meta property=\"og:image:height\" content=\"387\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"superadminRD\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"superadminRD\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\"},\"author\":{\"name\":\"superadminRD\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/c7d92db3b24a5db940c35ad50d444bbc\"},\"headline\":\"\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia\",\"datePublished\":\"2020-10-11T07:51:00+00:00\",\"dateModified\":\"2022-09-06T01:26:37+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\"},\"wordCount\":2496,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"12th Shanghai Biennale\",\"calligraphy\",\"Flash Art\",\"Huang Jing Yuan\",\"Huang Jingyuan\",\"Kyoo Lee\",\"Liang Shuhan\",\"Power Station of Art\",\"Ran Dian\",\"review\",\"Shanghai\",\"Shanghai Biennale\",\"Xu Liangyuan\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\",\"url\":\"http:\/\/www.randian.art\/right-to-write-________-toward-a-democalligraphic-u-topia\/\",\"name\":\"\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - 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![<\/a>\u201cThe Right to Write\u201d, Installation view (Oil painting \u201cNext to the water 03\u201d by Huang Jingyuan), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nFurther telling is the position of those two paintings triangulated by one in between, an image of a (pregnant?) girl and a boy holding each other (Next to the water 02<\/em>, 2017). The pregressive circularity of and bordered connections among three female figures, only visually signified here, functions like an ur-text (of contemporary China in the making?) that seems already fragmented as if pre-indexed. By proactively staging counterfragmentations as a series of shout-outs, however small or seemingly secondary, Huang\u2019s anarchive, along with the pregressive vacating of its own vocal subjectivity, effects the autocuration of an eclectically free \u201cwe\u201d, the sort of intersubject not as strongly present in more elitist and individualistic \u201cother Western\u201d figures such as Emily Dickinson or Walter Benjamin, those also focused on the fragment(ed)o(nto)logy of documented lives.<\/p>\n\n\n\nWhat would those writers from other shores have seen in this \u201cother\u201d writing?<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nThe rustic, quietly irreducible residency of the graphic bodies dynamically distributed and detailed in small pieces of papers and big pictures held together in their chrono-diverse proregressivity, pregressively<\/em> intensifies the very blurry overlap between the visual and the \u201cverbal\u201d which, in the case of Chinese characters, is close to visuo-musical. Right to Write<\/em> as a right to play de-monolingualizes and re-quotidianizes the very norms, practices, and scenes of writing, and the artwork itself, the platform that looks but is not flat, unfolds through a serially inclusive, transformatively collective aesthetic democratization, especially an asynchronic remin<\/em>ification with other \u201cChinese characteristics,\u201d of a Right to Write<\/em>.<\/p>\n\n\n\nThis could perhaps be one way to split open and empower alternative social (including socialist or is it now post-socialist?) tracks within China today, in and outside her hyper-controlled politico-economic landscapes and turbo dreams. This idea of a democalligraphic u-topia remains highly speculative and yet it is at least an idea. On my way out of the Shanghai Biennale, right past Museums, Money and Politics<\/em> (2018), Andrea Fraser\u2019s map of the US shown in China today, another visualization of the \u201cverbal,\u201d I thought, yes, \u201cright: to write _____\u201d alone together would be an idea \u2014 especially to write along with others in a corner room of ones\u2019<\/em> own belonging to a stately house that used to be a power station, yes, power.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Xu Shida part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nKyoo Lee<\/strong>, a member of AICA-USA, a Professor of Philosophy, Gender Studies and Justice Studies at the City University of New York, and the author of Reading Descartes Otherwise <\/em>and Writing Entanglish<\/em>, is a transdisciplinary philosopher, art\/cultural\/literary critic and writer.<\/p>\n\n\n\nA recipient of fellowships and visiting appointments from Cambridge University, CUNY Graduate Center, KIAS, the Mellon Foundation, the NEH, Seoul National University, Yanbian University, among others, her philopoetic texts have appeared in AICA-USA Magazine<\/em>, Asian American Literary Review<\/em>, The Brooklyn Rail<\/em>, Flash Art<\/em>, PN Review<\/em>, Randian,<\/em> The Volta<\/em> and the White Review<\/em> as well as numerous academic journals and anthologies. Her Mellon-funded anthology, Queenzenglish.mp3<\/em>: poetry | philosophy | performativity<\/em>, with contributions from 50+ poets, musicians, theorists and performance artists from across the globe, is forthcoming.<\/p>\n\n\n\nThe co-editor of philo<\/em>SOPHIA: A Journal of trans<\/em>Continental Feminism, she also serves on the editorial boards of Asian Journal of Women\u2019s Studies<\/em>, Bloomsbury Studies in Critical Poetics<\/em>, Open Humanities Press<\/em>, Simon de Beauvoir Studies<\/em> and Women\u2019s Studies Quarterly<\/em>.<\/p>\n\n\n\nThroughout her site-specific cogitographical practices, Q Professor Lee explores co-generative links between critical theory and creative prose including \u201cart writing\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"by Kyoo Lee First published in\u00a0Flash Art … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":136,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[84,57,59,82,60,58,61,81,29,75,69,85,83],"yoast_head":"\n\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - 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![<\/a>\u201cThe Right to Write\u201d, Installation view, \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Kyoo Lee.<\/strong><\/p>\n\n\n\nThe rustic, quietly irreducible residency of the graphic bodies dynamically distributed and detailed in small pieces of papers and big pictures held together in their chrono-diverse proregressivity, pregressively<\/em> intensifies the very blurry overlap between the visual and the \u201cverbal\u201d which, in the case of Chinese characters, is close to visuo-musical. Right to Write<\/em> as a right to play de-monolingualizes and re-quotidianizes the very norms, practices, and scenes of writing, and the artwork itself, the platform that looks but is not flat, unfolds through a serially inclusive, transformatively collective aesthetic democratization, especially an asynchronic remin<\/em>ification with other \u201cChinese characteristics,\u201d of a Right to Write<\/em>.<\/p>\n\n\n\nThis could perhaps be one way to split open and empower alternative social (including socialist or is it now post-socialist?) tracks within China today, in and outside her hyper-controlled politico-economic landscapes and turbo dreams. This idea of a democalligraphic u-topia remains highly speculative and yet it is at least an idea. On my way out of the Shanghai Biennale, right past Museums, Money and Politics<\/em> (2018), Andrea Fraser\u2019s map of the US shown in China today, another visualization of the \u201cverbal,\u201d I thought, yes, \u201cright: to write _____\u201d alone together would be an idea \u2014 especially to write along with others in a corner room of ones\u2019<\/em> own belonging to a stately house that used to be a power station, yes, power.<\/p>\n\n\n\n<\/a>\u201cThe Right to Write\u201d, Installation view (Xu Shida part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nKyoo Lee<\/strong>, a member of AICA-USA, a Professor of Philosophy, Gender Studies and Justice Studies at the City University of New York, and the author of Reading Descartes Otherwise <\/em>and Writing Entanglish<\/em>, is a transdisciplinary philosopher, art\/cultural\/literary critic and writer.<\/p>\n\n\n\nA recipient of fellowships and visiting appointments from Cambridge University, CUNY Graduate Center, KIAS, the Mellon Foundation, the NEH, Seoul National University, Yanbian University, among others, her philopoetic texts have appeared in AICA-USA Magazine<\/em>, Asian American Literary Review<\/em>, The Brooklyn Rail<\/em>, Flash Art<\/em>, PN Review<\/em>, Randian,<\/em> The Volta<\/em> and the White Review<\/em> as well as numerous academic journals and anthologies. Her Mellon-funded anthology, Queenzenglish.mp3<\/em>: poetry | philosophy | performativity<\/em>, with contributions from 50+ poets, musicians, theorists and performance artists from across the globe, is forthcoming.<\/p>\n\n\n\nThe co-editor of philo<\/em>SOPHIA: A Journal of trans<\/em>Continental Feminism, she also serves on the editorial boards of Asian Journal of Women\u2019s Studies<\/em>, Bloomsbury Studies in Critical Poetics<\/em>, Open Humanities Press<\/em>, Simon de Beauvoir Studies<\/em> and Women\u2019s Studies Quarterly<\/em>.<\/p>\n\n\n\nThroughout her site-specific cogitographical practices, Q Professor Lee explores co-generative links between critical theory and creative prose including \u201cart writing\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"by Kyoo Lee First published in\u00a0Flash Art … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":136,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[84,57,59,82,60,58,61,81,29,75,69,85,83],"yoast_head":"\n\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - 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![<\/a>\u201cThe Right to Write\u201d, Installation view (Xu Shida part), \u201cthe 12th Shanghai Biennale: Proregress\u201d, Power Station of Art, 2018. Photography by Huang Jingyuan. Courtesy of the artist.<\/strong><\/p>\n\n\n\nKyoo Lee<\/strong>, a member of AICA-USA, a Professor of Philosophy, Gender Studies and Justice Studies at the City University of New York, and the author of Reading Descartes Otherwise <\/em>and Writing Entanglish<\/em>, is a transdisciplinary philosopher, art\/cultural\/literary critic and writer.<\/p>\n\n\n\nA recipient of fellowships and visiting appointments from Cambridge University, CUNY Graduate Center, KIAS, the Mellon Foundation, the NEH, Seoul National University, Yanbian University, among others, her philopoetic texts have appeared in AICA-USA Magazine<\/em>, Asian American Literary Review<\/em>, The Brooklyn Rail<\/em>, Flash Art<\/em>, PN Review<\/em>, Randian,<\/em> The Volta<\/em> and the White Review<\/em> as well as numerous academic journals and anthologies. Her Mellon-funded anthology, Queenzenglish.mp3<\/em>: poetry | philosophy | performativity<\/em>, with contributions from 50+ poets, musicians, theorists and performance artists from across the globe, is forthcoming.<\/p>\n\n\n\nThe co-editor of philo<\/em>SOPHIA: A Journal of trans<\/em>Continental Feminism, she also serves on the editorial boards of Asian Journal of Women\u2019s Studies<\/em>, Bloomsbury Studies in Critical Poetics<\/em>, Open Humanities Press<\/em>, Simon de Beauvoir Studies<\/em> and Women\u2019s Studies Quarterly<\/em>.<\/p>\n\n\n\nThroughout her site-specific cogitographical practices, Q Professor Lee explores co-generative links between critical theory and creative prose including \u201cart writing\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"by Kyoo Lee First published in\u00a0Flash Art … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":136,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[84,57,59,82,60,58,61,81,29,75,69,85,83],"yoast_head":"\n\u201cRight: to Write ________\u201d: Toward a Democalligraphic U-topia - 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