2017-2019 Yen Noh ~ Keywords: anti-colonial affect, paralanguage, ambiguity, agenealogical filiation, connivance, spectral collectivity, collective mourning, breath, listening, learning-in-relation, performance, resonance
Yen Noh (based in Utrecht/NL, born in 1983) uses performance to reenact, recreate, and exercise radical practices by those whose history is ignored and unthought by the official history of art and its white/male dominion of culture but deserve to be told. She studied Art Praxis at the Dutch Art Institute (2017-2019).
Her work particularly concerns with unearthing intimate histories of trauma, upheaval, and freedom during the Japanese colonisation of Korea via a feminist angle.
In an attempt to go back to the past and face the problematic of the past whose values and practices are reiterated in the present, her research so far has been the Korean-American performance artist, poet, and filmmaker Theresa Hak Kyung Cha, the Japanese art group MAVO in 1920’s post-quake Tokyo, the Korean poet and architect Yi Sang and his partner Geumhong—through whom she seeks to rethink signification as its bodily practice by addressing the following question: how do we dance at the zero degree of signification?
Learn more about Yen Noh’s written MA thesis: Run to the Lowest Paradise