Living in-between languages is an experience shared by many Sinophone art professionals whose practices involve writing in both Chinese and English. But what does it really mean, when we develop our writing practices at the crossing of two or more languages? What is at stake in the decision to, say, write about a Chinese artist’s show in English, or to insist on writing in Chinese while living in an English-speaking country? What are the implications of these decisions?
On Sunday, 14 January, we are hosting a writing workshop for Sinophone art writers, artists, and researchers who explore writing in both English and Chinese.
Led by Cindy Ziyun Huang, this workshop comprises a group discussion and short writing exercises. Participants are given time to rework their chosen pieces of writing in progress with prompts provided by the workshop. This event is a space for thinking critically about the implications of writing, or not writing, or writing in one or another language. Participants are encouraged to bring their writings as a starting point for the workshop.
🟢Time: 15:00-17:00pm, 14 Jan 2024
🟢Venue: Residency Space, Goldsmiths CCA, SE14 6AD
🟢If you wish to participate please DM Qilu Criticms, or Cindy
This workshop is the first in a series of writing workshops organised by Qilu Criticism歧路批评. Qilu Criticism is an independent online forum formed in 2021 to expand spaces for critical discussions on contemporary art in Chinese. The name ’qilu‘ translates in English as both transversal and alternative.
This workshop is hosted and supported by Gourd Canteen
.The maximum capacity is 12 participants. Registration is required.
Cindy Ziyun Huang
is a London-based editor, writer and translator. She co-edits Qilu Criticism歧路批评. Her writings about art have been published by art magazines including ArtReview China. Her creative writings can be found in literary magazines such as Sine Theta Magazine and Tiny Molecules.