This article is written in response to a major installation work by the artist Suki Chan which was exhibited a the Aspex Gallery in 2012. The article seeks to interact with the artist's method in collecting 100 voiced views of revolution, and the exhibited installation, considering what both may tell us about experience and art and art's material politics.
|Title of host publication||A hundred seas rising|
|Place of Publication||Portsmouth|
|Number of pages||3|
|Publication status||Published - 1 Nov 2012|