杨越乔：历史在缺口处显影
Yueqiao Yang : The Image of History Forms in Absence
Yueqiao Yang : The Image of History Forms in Absence
Interviewer: Vankingking
Date: 20/06/2026
Keywords: archive / erasure / diaspora / migration
Date: 20/06/2026
Keywords: archive / erasure / diaspora / migration
杨越乔 Hester (1999 年，吉林)的实践关注记忆、历史抹除、以及处于可见性与可听性边缘的历史。她的一条长期研究线索聚焦港口城市的移民与跨境社区历史，通过声音、影像与档案介人展开。
Hester’s hybrid practice explores histories at the margins of visibility andaudibility, working across sound, moving image and archivalinterventionsA long term research thread focuses on histories of port cities shaped by
displacement,labour,and migration.
Hester’s hybrid practice explores histories at the margins of visibility andaudibility, working across sound, moving image and archivalinterventionsA long term research thread focuses on histories of port cities shaped by
displacement,labour,and migration.
The Undesirables展览现场，北京三影堂摄影艺术中心，2024
A: Your practice has long revolved around erased histories, archival structures, and mechanisms of voicing. Through text, sound, and fictional narrative, you reconstruct individual and collective experiences that have often been overlooked. In the course of your practice, how did these media and methods gradually enter your projects? How are the relationships between them established and organised?
Y: 对我来说，媒介从来不是预先决定的。在接触利物浦华人海员遣送历史之后，我开始意识到很多历史并不可见，或是未被记录下来，正是这些档案中的空白迫使我不断去寻找新的表达方式。
Y: For me, the medium is never predetermined. After encountering the history of the deportation of Chinese seamen in Liverpool, I began to realise that many histories are either invisible or have never been properly recorded. It is precisely these absences within the archive that compelled me to keep searching for new modes of expression.
A：你的实践既涉及历史研究，也引⼊虚构与重写的策略。在你看来，艺术创作与研究之间的关系是什么？在具体项⽬中，你通常如何在史料、叙述与艺术表达之间建⽴联系？
A: Your practice involves historical research, while also introducing strategies of fiction and rewriting. How do you understand the relationship between artistic practice and research? In specific projects, how do you usually establish connections between historical materials, narrative, and artistic expression?
Y: 我的工作通常是非常缓慢的过程，进入一段历史可能会持续至少半年或一年以上时间。利物浦的项目前期花了大量时间在档案馆、读历史材料、与研究者和社群成员交流等，好像投入足够时间就能越来越接近历史。
但我也慢慢意识到当历史充满缺失、矛盾与无法验证的材料时，试图将碎片整理成一个连贯、稳定的叙事反而变得越来越没有意义。甚至连贯性本身也成为一种暴力。后来的项目里，我开始让更多偶然性进入研究过程。相比以明确的问题或者目的性开始一段研究，我可能是从一个名字、一张照片、一段无法解释的记录作为出发点。现在对于我来说，研究不是为了抵达确定性，而是为了发展一种能够容纳复杂性，与空白相处的方法与感知方式。
Y: My work usually unfolds through a very slow process. Entering a particular history may take at least six months, or even more than a year. In the early stages of the Liverpool project, I spent a great deal of time in archives, reading historical materials, and speaking with researchers and community members. At that point, it felt as though investing enough time would allow me to move ever closer to history.
But I gradually came to realise that when history is full of omissions, contradictions, and unverifiable materials, the attempt to organise fragments into a coherent and stable narrative becomes increasingly meaningless. Coherence itself can even become a form of violence. In later projects, I began to allow more contingency to enter the research process. Rather than beginning with a clearly defined question or objective, I might start from a name, a photograph, or an inexplicable record. For me now, research is not a way of arriving at certainty, but a means of developing a method and a mode of perception capable of holding complexity and staying with absence.
The Undesirables 展览现场， eseg contemporary，2024
A: The Undesirables focuses on the history of Chinese seamen in Liverpool who were deported after the Second World War, an event that has long been overlooked, and even erased. How did you first encounter this history? What prompted you to develop it into an ongoing research project?
Y: 《The Undesirables》是由我的硕士毕业项目开始，之后在几年内多次回顾的项目，到现在离散历史也依然是我一条长期的研究线索。
最开始读到这段历史是卫报Guardian的一篇长文纪实报道，当时我已经在英国生活了三年，才第一次接触到华人移民的历史。当然这一点本身也值得反思——为什么这样的历史在公共叙事中很少被看到。这也成为我后来无论是创立影像组织，还是一系列策展项目的一个起点。
Y: The Undesirables began as my MA graduation project, and I have returned to it several times over the past few years. Histories of diaspora remain a long-term line of inquiry in my practice.
I first came across this history through a long-form investigative feature in The Guardian. By then, I had already been living in the UK for three years, yet it was the first time I had encountered the history of Chinese migration here. Of course, this in itself is something that needs to be reflected upon: why are such histories so rarely visible within public narratives? This question later became one of the starting points for my work, both in founding a moving image organisation and in developing a series of curatorial projects.
Peter，The Undesirables，2023
A: In the process of developing this project, whether through research, interviews, sound recording, or editing, were there any aspects that felt particularly challenging? Did these experiences also reshape your understanding of “the archive” or “history”?
Y: 这个项目中最有挑战性的部分可能在于我原本对档案和历史的认知在整个过程中不断被推翻。
我硕士读的是新闻纪实摄影 (Photojournalism), 一方面，这个专业非常强调影像的政治性与拍摄的伦理，比如如何在战争或冲突中“见证”的讨论。但另一方面，它依然是建立在一个基于可见性的前提上，摄影如何作为历史事件的证据，图像被视为能被验证的客观记录这一套逻辑。
而我此前受到的从纪录片到新闻摄影的所有训练，在进入这个项目的过程中迅速开始消解。当遣送事件的复杂性慢慢展开，我发现曾经熟悉的基于视觉与纪实的表现手法和叙事策略在这里完全是失效的。在没有影像留下来的情况下，怎样去纪录消失本身？同时这段历史在时间的维度也非常复杂，引用记忆研究的一句话或许可以说是一个没有起点，没有终点，没有之前，没有之中, 没有之后的事件 （“an event that has no beginning, no ending, no before, no during and no after” ）。
由于英国秘密法案的政策，与遣送相关的文件在50多年之后才被公开。对于1940年代与利物浦华人海员组建家庭的那些女性以及他们的孩子来说，丈夫/父亲的消失与身份的悬置是很直接的生活经验，但他们在当时无法理解这是国家政策的一部分。绝大部分家庭是过了几十年之后才第一次意识到这一点。在档案公开之前，这些个体经验只能在家庭内部被解释，华人海员的消失被理解为婚姻失败或是丈夫抛弃家庭，他们的存在甚至被有意地从家庭历史中抹去。一些女性重新组建了家庭，有不少家庭因失去主要经济来源陷入贫困，也有很多孩子因此在福利机构长大。
Y: Perhaps the most challenging aspect of this project was that my original understanding of archives and history was repeatedly overturned throughout the process.
My MA was in Photojournalism. On the one hand, the discipline places a strong emphasis on the politics of images and the ethics of making photographs, including questions around what it means to “bear witness” in contexts of war or conflict. On the other hand, it is still built upon a premise of visibility: the idea that photography can function as evidence of historical events, and that images can be regarded as verifiable, objective records.
Yet almost all the training I had previously received, from documentary film to photojournalism, began to unravel very quickly as I entered this project. As the complexity of the deportations gradually unfolded, I realised that the visual and documentary methods and narrative strategies I had once been familiar with were entirely inadequate here. In the absence of images, how does one document disappearance itself? At the same time, this history is also highly complex in temporal terms. To borrow a phrase from memory studies, it might be described as “an event that has no beginning, no ending, no before, no during and no after.”
Because of the policies surrounding the UK’s Official Secrets Act, documents related to the deportations were only made public more than fifty years later. For the women who had formed families with Chinese seamen in Liverpool in the 1940s, and for their children, the disappearance of their husbands or fathers, and the suspension of identity that followed, were immediate lived experiences. Yet at the time, they had no way of understanding that these disappearances were part of a state policy. Most families only came to realise this decades later. Before the archives were opened, these individual experiences could only be interpreted within the family. The disappearance of Chinese seamen was understood as marital failure, or as husbands abandoning their families; in some cases, their existence was even deliberately erased from family histories. Some women remarried and formed new families, many households fell into poverty after losing their main source of income, and many children consequently grew up within the welfare system.
The Undesirables，2023
A: In this project, you are dealing with a large amount of fragmented, missing, and even unverifiable archival material. Under these conditions, how do you understand the concept of “evidence”? When history itself cannot be fully reconstructed, what role can art play within it?
Y：在这个事件里断裂和缺失的不只是档案材料，也是叙事上的空白，这些亲历家庭在当时没有语言和解释框架去理解发生了什么。这种时间上的错位，让创伤经验长期处在“无名”的状态，直到很晚才被命名，这个延迟本身就是一种很隐性的暴力。
面对这些很多层的张力，我在项目过程中实验了多种策略去回应。例如早期尝试在海水中浸泡暗房冲印的照片，图像随着时间被侵蚀，变得难以辨认。或是在影像结构中使用碎片化，多声部的讲述形式。 也引入了被遣送海员子女再下一代的视角，不同世代之间对于这段历史的理解、记忆与情感状态的错位最终成为叙事很重要的一部分。
家庭照片也在项目中多次出现，这一点很大程度上受到Tina Campt写作的启发，以及一位在利物浦研究家庭照片作为替代档案的朋友所影响。在Campt的讨论中，家庭照片不仅是静止的相片，而是跨越海洋与时间不断移动的物件。项目其中一位受访人Judy的母亲，在丈夫消失之后曾在他们唯一的一张家庭合照背后写下一段话，试图托人将照片带给远方的丈夫。但因最终没有找到人，照片又回到了她手中。对我而言，这张照片标记的是没有被传递的信息，或者说是一次未完成的流动——它能否被想象为另一种形式的证据？
在纪录传统中，证据是对于某个已经发生事件的确认，但在这个事件中，档案材料的缺失本身就在挑战“证据”的概念。在这里家庭照片的力量在于它们显现了什么没有发生，这些未能完成的行动、被切断的关系、长期无法讲述的经验一起构成了某种负空间。这段历史好像反而是在这些不可见的层面，在空白与缺口处变得更具体，更接近经验原本的复杂性。
Y: In this event, what is fragmented or missing is not only the archival material, but also the narrative framework itself. At the time, the families who lived through these experiences did not have the language or interpretive framework to understand what had happened. This temporal dislocation left the traumatic experience in an “unnamed” state for a long time, only to be named much later. That delay itself is a very subtle form of violence.
In response to these multiple layers of tension, I experimented with various strategies throughout the project. In the early stages, for example, I tried soaking darkroom prints in seawater, allowing the images to erode over time and become difficult to recognise. I also used fragmented structures and polyphonic forms of narration within the moving image. The perspective of the next generation, the descendants of the children of the deported seamen, was also introduced. The discrepancies between different generations, in terms of how they understand, remember, and emotionally relate to this history, eventually became an important part of the narrative.
Family photographs also appear repeatedly throughout the project. This was influenced to a large extent by Tina Campt’s writing, as well as by a friend in Liverpool who was researching family photographs as alternative archives. In Campt’s discussion, family photographs are not merely static images, but objects that continue to move across oceans and across time. In the project, the mother of one interviewee, Judy, once wrote a message on the back of the only family photograph they had after her husband disappeared, hoping that someone might take it to him far away. But because no one was ultimately found to deliver it, the photograph returned to her hands. For me, this photograph marks a message that was never transmitted, or perhaps an unfinished movement. Could it be imagined as another form of evidence?
Within the documentary tradition, evidence is often understood as the confirmation of an event that has already taken place. But in this case, the absence of archival material itself challenges the concept of evidence. The force of these family photographs lies in their capacity to reveal what did not happen. These unfinished actions, severed relationships, and experiences that remained unspeakable for a long time collectively form a kind of negative space. In a sense, this history seems to become more concrete precisely through these invisible layers, through its blanks and gaps, drawing closer to the original complexity of lived experience.
The Undesirables，2023
A: In the earlier Erasure Series, you generated new narrative structures by deleting parts of existing texts. How did this strategy first take shape? How did it influence your later understanding of language and the archive?
Y: Tina Campt 在写作中曾使用“archival encounter”一词来描述与档案材料相遇的经验。她尤其关注档案所带来的身体经验，以及在面对不完整、甚至带有暴力性的材料中，如何发展更敏感的感知方式，如何从档案中的裂缝、沉默与空白之处“听到”未被图像纪录的经验，这种阅读方式后来直接影响了《Erasure Series》。
这个系列中的文本是一篇1910年登于当时英国流行杂志的一篇文章，算是最早描写利物浦华人社区的长篇文本之一。文章里其实有很多细节描写 (包括移民社群频繁所遭遇的警察突袭、当地社会对于跨种族婚姻的态度，甚至写到利物浦的华人墓地) ，但同时语言中充满了明显的偏见和东方主义想象。这种阅读体验让人很难回避，我无法把它看作中立的文本或历史资料。
后来我接触到抹除诗 (Erasure poetry)这一当代实验文学实践，它的创作是通过删除与重组文本组成新诗句，本质上是在原有语言结构内部去重新组织, 甚至反转它原来的叙事。受到几位北美写作者的启发，我开始意识到 erasure 不仅是形式上的文字实验，也可以作为一种介入历史与政治暴力的批判性策略。
其中知名的抹除诗例子包括M. NourbeSe Philip 的《Zong!》。这部作品取材于十八世纪 Zong 奴隶船案件的法庭纪录。作者通过近乎极端的对词句的打碎重组，以文本层面的暴力指向历史中真实的暴力，如果尝试读出Zong!的文本，碎片化的文字结构会不断打断呼吸节奏，以呼应那些曾经在船舱里无法呼吸的身体。
Y: In her writing, Tina Campt uses the term “archival encounter” to describe the experience of coming into contact with archival materials. She is particularly attentive to the bodily experience produced by the archive, and to how one might develop more sensitive modes of perception when facing materials that are incomplete, or even marked by violence. How might one “listen” from within the fissures, silences, and blank spaces of the archive to experiences that were never recorded by images? This mode of reading later directly influenced Erasure Series.
The text used in this series comes from an article published in a popular British magazine in 1910. It can be considered one of the earliest long-form texts describing Liverpool’s Chinese community. The article contains many details, including the frequent police raids faced by immigrant communities, local attitudes towards interracial marriage, and even references to the Chinese cemetery in Liverpool. At the same time, however, its language is saturated with obvious prejudice and Orientalist fantasy. This made the reading experience difficult to ignore. I could not treat it as a neutral text or as straightforward historical material.
Later, I encountered erasure poetry, a contemporary experimental literary practice in which new poetic lines are produced through the deletion and reorganisation of existing texts. In essence, it reorganises, and even reverses, a narrative from within the original structure of language itself. Inspired by several North American writers, I began to understand erasure not only as a formal textual experiment, but also as a critical strategy for intervening in histories of political violence.
One well-known example of erasure poetry is M. NourbeSe Philip’s Zong!, which draws on the legal records of the eighteenth-century Zong slave ship case. Through an almost extreme process of breaking and reassembling words and sentences, Philip uses violence at the level of language to point towards the actual violence of history. If one attempts to read Zong! aloud, its fragmented textual structure repeatedly interrupts the rhythm of breathing, echoing the bodies that once could not breathe in the hold of the ship.
Erasure series，2022
A: A: In your practice, “erasure” functions both as a creative method and as a recurring line of thought. In the process of deleting text, how is the relationship between what is retained and what is removed established? How does this process reshape the structure of the text and the experience of reading?
Y: 其实是一个很直觉性的过程，抹除诗的力量就是在于它不仅是单纯在”对抗”或是“否定”原文本，而是种带有很多层内在张力的实践。对我来说它是一种去寻找单一叙事覆盖之下潜在的多重声音的方法。
Erasure的介入打破了档案文本的稳定性，让文字内部的矛盾和潜在的其他叙事显现出来。多重的，平行的，甚至相互矛盾的叙事也可以在同一空间/页面上展开。
我最开始是在印出来的文本上用铅笔圈出一些词语，因为原文本身用到了非常夸大与戏剧化的语言，当 “消失” “秘密围捕” “空空的街道”这样的词从原本的叙述中抽离出来之后，它们之间开始产生新的关系。在我近期的一次对话中再次回顾这个创作过程时，我自己很难准确讲述当时的具体步骤与思考，因为它发生得非常自然。当我发现这些句子与1946年在利物浦街头消失的华人水手形成了跨越线性时间的互文，文本好像是在自行“书写”或是“连接”起来这些历史。后来在 Sine Screen 的策展项目中，我也尝试延伸这一思路，组织过抹除诗的系列工作坊。当时是与伦敦收藏了很多左翼出版物的 MayDay Rooms合作，我们使用了馆藏中的部分档案材料作为文本，招募了一组参与者一起进行反向书写的实验。在另一个层面上，相比于通过更多研究、口述史或影像重建等方式去尽可能还原一段历史，抹除诗提供了另一条路径，让空白处就保持为空白。
当然，去面对和处理历史中的空白自身就是件反直觉，也非常困难的事情。当时我合作的利物浦的一些受访者，很难接受档案不完整/已不存在这个事实。他们更愿意相信仍有未被公开的材料，或是名单被刻意隐藏起来，无法理解一些档案文件就这样消失了，或是一开始就没有被记录下来。
Y: It is actually a very intuitive process. The force of erasure poetry lies in the fact that it is not simply a matter of “resisting” or “negating” the original text, but a practice that contains many layers of internal tension. For me, it is a way of searching for multiple latent voices beneath the surface of a singular narrative.
The intervention of erasure destabilises the archival text, allowing its internal contradictions and other potential narratives to emerge. Multiple, parallel, and even contradictory narratives can unfold within the same space or on the same page.
At the beginning, I used a pencil to circle certain words on printed texts. Because the original text itself employed highly exaggerated and theatrical language, words such as “disappearance”, “secret round-up”, and “empty streets” began to form new relationships once they were extracted from the original narrative. When revisiting this process in a recent conversation, I found it difficult to describe precisely the steps and thoughts I had at the time, because it happened in such a natural way. When I realised that these sentences formed an intertextual relation, across linear time, with the Chinese seamen who disappeared from the streets of Liverpool in 1946, it felt as though the text was writing, or connecting, these histories by itself.
Later, in a curatorial project with Sine Screen, I also tried to extend this line of thinking by organising a series of erasure poetry workshops. The workshops were developed in collaboration with MayDay Rooms in London, which holds a substantial collection of left-wing publications. We used selected archival materials from the collection as source texts and invited a group of participants to experiment with forms of reverse writing together. On another level, compared with methods that attempt to reconstruct history as fully as possible through further research, oral history, or moving-image reconstruction, erasure poetry offers another path: allowing the blank spaces to remain blank.
Of course, facing and working with historical absence is itself deeply counterintuitive, and very difficult. Some of the interviewees I worked with in Liverpool found it hard to accept the fact that the archives were incomplete or no longer existed. They were more willing to believe that undisclosed materials still remained, or that lists had been deliberately hidden, and found it difficult to understand that some archival documents had simply disappeared, or had never been recorded in the first place.
The Undesirables，2023
A: A: In An Imaginary Archive of Pitt Street, fiction and historical materials become intertwined. How do you understand the place of fiction within your practice? In your work, is it more a method, or a way of intervening in history?
Y: 《An Imaginary Archive of Pitt Street》是受到曼城艺术机构esea contemporary邀请完成的一个小型项目，以一种介于档案与虚构之间的方法，去想象利物浦一处已不可见的港口区域移民社区Pitt Street的历史。在这一项目中，我更具体地回到港口这一流动的空间结构，也将关注转向不同社群之间的交叉关系，尤其是华人历史与其他族群经验之间的重叠与交汇之处，这些交集在既有叙述中较少被讨论。
之前有提到我的纪实影像背景，虚构对我来说其实是完全新的尝试。虚构在这个项目里，不是文本层面的创作 （我发现我也并不擅长），更像是一种思考的框架。它可以让不同来源，原本并不相关的材料——图片档案、人口普查记录、简报零散的人名、空间线索——以某种非理性的，不依赖时间或地点关系那种分类逻辑的方式被组织在一起。
例如项目中其中一条线索，就来自Ah Sam这个名字，Ah Sam是英国档案系统中非常常见的华人名字之一。出于各种原因，大量的华人劳工只以昵称或是单字名字被记入了官方档案。 这一机制本身也是一种被档案系统生产出来的匿名结构，消解掉了个体的身份。我在一个线上档案检索系统中输入这个名字之后，由此逐渐搜集到一系列分散在不同档案中的记录，包括船运乘客名单、新闻简报、房屋登记信息、婚姻登记与死亡记录等，这些材料横跨英国不同港口城市（卡迪夫、利物浦、伦敦），也延伸至其他大陆。
项目的叙事就围绕着这些意外被连接起来的材料，以及Ah Sam模糊的移动轨迹展开。相对于围绕一个固定的主体，或是特定社群开启的档案研究，我很好奇的地方在于，当偶然性、错位、误读与想象性的关联成为进入历史的入口时，会打开哪些新的叙事可能性。
Y: An Imaginary Archive of Pitt Street was a small-scale project commissioned by esea contemporary in Manchester. It used an approach situated somewhere between archive and fiction to imagine the history of Pitt Street, a now invisible migrant community in Liverpool’s former port area. In this project, I returned more specifically to the port as a spatial structure of movement, while also shifting my attention towards the intersections between different communities, especially the overlaps and points of contact between Chinese histories and the experiences of other ethnic groups. These intersections are rarely discussed in existing narratives.
As I mentioned earlier, my background is in documentary moving image, so fiction was in fact a completely new experiment for me. In this project, fiction was not so much a form of writing at the level of text, which I realised I am not particularly good at, but rather a framework for thinking. It allowed materials from different sources, which were not originally related to one another, such as photographic archives, census records, scattered names in newspaper reports, and spatial clues, to be organised together in a way that was somewhat irrational, and not dependent on classificatory logics of time or place.
One thread in the project, for example, began with the name “Ah Sam”. Ah Sam is one of the most common Chinese names found in British archival systems. For various reasons, large numbers of Chinese labourers were recorded in official archives only by nicknames or single-character names. This mechanism is itself a structure of anonymity produced by the archive, one that dissolves individual identity. After entering this name into an online archival search system, I gradually gathered a series of records dispersed across different archives, including shipping passenger lists, newspaper reports, housing registration information, marriage records, and death certificates. These materials span different port cities in Britain, including Cardiff, Liverpool, and London, and also extend to other continents.
The narrative of the project unfolds around these unexpectedly connected materials and the ambiguous trajectory of Ah Sam’s movement. Rather than beginning archival research from a fixed subject or a specific community, what interested me was this question: when contingency, dislocation, misreading, and imaginative association become the entry points into history, what new narrative possibilities might they open up?
Pitt Street map，Bacon's New Plan of Liverpool，1910
A: When working with issues that involve historical trauma and erased communities, how do you understand your position as an artist? In the process of “retelling the histories of others”, are there certain boundaries that you remain constantly alert to?
Y: 我一直对艺术家的身份是抗拒的心态，实话讲当前不论是英国还是国内的艺术生态让我想保持距离的东西也远大于它对我的吸引。我也觉得正是因为艺术家的研究和工作方法通常是隐形的，我们需要更多批判性的对于艺术实践如何参与甚至强化不对称权力关系的拆解。
对我个人来说，作为记录者或外来者的角色所带来的不安与焦虑，是贯穿所有项目的一个持续状态。这种不安无法被克服，也不该尝试去克服，甚至我会觉得不安感在一个涉及到脆弱群体的项目中是非常必要的。我有时也把这种状态理解为历史或是经验的复杂性以一种阻力的方式进入工作过程所产生的张力。
这些敏感其实让我在毕业以后很难再拿起相机，我现在选择转向更加平视的，以社群合作为基础的工作方式。可能是一个更慢的，时间跨度更久，不以产出作品为导向的模式。
Y: I have always felt a certain resistance towards the identity of the artist. To be honest, both the British and Chinese art ecologies today contain far more things that make me want to keep a distance than things that attract me. I also think that precisely because the research and working methods of artists are often invisible, we need more critical forms of analysis that examine how artistic practice participates in, and may even reinforce, asymmetrical power relations.
For me personally, the unease and anxiety that come with the role of being a recorder or an outsider have been a continuous condition throughout all my projects. This unease cannot be overcome, nor should one attempt to overcome it. I would even say that, in a project involving vulnerable communities, such a sense of discomfort is necessary. Sometimes I understand this condition as the tension produced when the complexity of history or lived experience enters the working process as a form of resistance.
These sensitivities have in fact made it difficult for me to pick up the camera again after graduating. I now choose to move towards a more horizontal mode of working, one grounded in collaboration with communities. It may be slower, longer in duration, and less oriented towards the production of a finished artwork.
CR 10 海员身份卡，Southampton City Archives
A: Could you talk about your future research or practice plans?
Y: 我近期的重心放在一个新创建的关注批判性声音实践的组织 Unruly Ear，这个项目主要想探索“听”（listening）的政治性，以及听怎样打开进入不可见历史的多重路径。
目前已经在北京开展了一些线下活动，之后也会流动去各地。
Y: My recent focus has been on Unruly Ear, a newly founded organisation dedicated to critical sound practices. The project primarily seeks to explore the politics of listening, and how listening might open up multiple pathways into invisible histories.
We have already organised several offline events in Beijing, and the project will continue to move across different places in the future.