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What happens when a writing cannot perform its function of documentation and indication? In the installation performance Poem Without Language, developed from the action score writing Chinese calligraphy on the surface of water, the multiple closed-circuit videos raise the question of “who” can occupy the position of the observer, challenging tunnel-vision perspectivism. Such an orchestra of gazes resonates with the spatial organization in Chinese ink landscape painting, which challenges the anthropocentric ordering of things; responds to Nam June Paik’s approach to media, which disrupts the habitual way of perceiving conditioned by the mass media; and resonates with the concept of Kongwu (空無, emptiness, nothingness) from Daoism and Buddhism.


Chinese calligraphy, Nam June Paik, closed-circuit, loop, ink landscape painting, the concept of Kongwu (空無, emptiness, nothingness), Zhuangzi, Daoism, Buddhism, observer, self, gaze


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