[Part 1] Friday Night Salons | Tate Modern, London, UK; 28 March 2014
[Part 2] ArtReview Live | ArtReview, London, UK; 3 April 2014
[Part 3] unrealised proposal | Fungiculture journal; 2014
[Part 4] “Who Goes, Where Are? [part 4]: Documentation as gesture in alternative art practices of contemporary China” | ArtReview Asia; Autumn-Winter 2014
[Part 5] “Measures of Distance (to HomeShop): A Conversation with Elaine W. Ho and Edward Sanderson” | Journal of Contemporary Chinese Art, Vol. 1, No. 23; 2014
[Part 6] unrealised proposal | The 2nd Biennial Performance Philosophy Conference, Chicago, USA; 2015
[Part 7] 未知之知：研究之于艺术实践 Between Knowing and Unknowning: Research in-and-through-Art, symposium organised by 蔡影茜 Nikita CHOI and 陆思培 Stephanie LU | 時代美術館 Guangdong Times Museum, Guangzhou, CN; 24-26 September 2015
[Part 8] unrealised proposal | 2nd Biennial PARSE Conference, Gothenburg, SE; 15-17 November 2017
[Part 9] “声音根据地 Grounds for Sound”, featuring contributions from 阿科 A-Ke and 李澤民 LEE Chak Man | part of 自我批评 Self-Criticism, 中間美術館 Inside-Out Art Museum; 27 May 2017
“谁人往，向何处？”是一个讲座和表演系列项目，将会在《自我批评》展览开幕式上的现场呈现。该项目由艺术家何颖雅与艺术评论家李蔼德共同发起，是一项艺术研究的实践，旨在探索身份政治的上限和研究的社会属性。这一实验性研究以发生在大中华地区不同形式的艺术活动为考察范围，以反抗性的个人和观念为前提，通过小规模的现场表演，探求变动不居的城市环境中艺术与微观政治之间的关联。“谁人往，向何处？”持续解构所谓的“学术意图”，因此成为一项实验，其形式本身便探讨了嵌入性的实践及其重组为再现形式的复杂性 。
Who Goes, Where Are? is a collaborative series of lecture-performances by artist Elaine W. HO and art critic Edward SANDERSON exploring the limits of identity politics and sociality as a practice of artistic research. With intangible artistic activity in greater China as a ground for this experiment, HO and SANDERSON map a series of personal and conceptual connections to trace the nexus of art and micropolitics as forms of resistance in the context of small-scale, event-based initiatives in an unstable, urban environment.
The series began as a straightforward paper presentation, developing with each presentation into a lecture-performance and dialogical experiment, reappropriating video and dialogue content in a consecutive abstraction from each of its previous instances. With its successive deconstruction of what could be considered an ‘academic intention’, Who Goes, Where Are? becomes an experiment whose very form addresses the complications of embedded practice reorganised as representation, a question plaguing the field of artistic research and its ongoing challenges of standardisation and recognition. The collaboration and its dialogical deteriorations highlight that which is occluded, omitted and excluded from representation and cultural translation, on the one hand echoing the limitations of access between practice and theory, but also addressing the identity politics which structure such conditions of access.
Who Goes, Where Are? is a collaborative series of lecture-performances by artist Elaine W. HO and art critic Edward SANDERSON exploring the limits of identity politics and sociality as a practice of artistic research. With intangible artistic activity in greater China as a ground for this experiment, HO and SANDERSON map a series of personal and conceptual connections to trace the nexus of art and micropolitics as forms of resistance in the context of small-scale, event-based initiatives in an unstable, urban environment.
The series began as a straightforward paper presentation, developing with each presentation into a lecture-performance and dialogical experiment, reappropriating video and dialogue content in a consecutive abstraction from each of its previous instances. With its successive deconstruction of what could be considered an ‘academic intention’, Who Goes, Where Are? becomes an experiment whose very form addresses the complications of embedded practice reorganised as representation, a question plaguing the field of artistic research and its ongoing challenges of standardisation and recognition. The collaboration and its dialogical deteriorations highlight that which is occluded, omitted and excluded from representation and cultural translation, on the one hand echoing the limitations of access between practice and theory, but also addressing the identity politics which structure such conditions of access.
