“Floating” is a temporary club, intertwining multiple layers of conversations: between the mobile bodies and the space they generated, sound improvisation and moving images, artist identities and art institutions.

The name “Floating” derives from a multi-screen video from Gouging Xu, a fictional policeman from a 80s Chinese TV opera. The video tempts to test whether it is necessary for an art institution to establish an entrepreneurial spirit, meanwhile cultivate the collective consciousness of its employees. Is it a small step of operating with  “Western Globalisation Process,” or a preparation of disciplined cut and run from the upcoming catastrophe?

On site, the participants roam and dance in a floating zone that consists of 15 dancers, guided by dim lights and illusional video-audio orientations, stumbling cross the displacement of the body and therapeutic experience of the mind. 

Sound: Vurado Bokoda

Vurado Bokoda is the primary identity that writer, translator, editor, and researcher Einar Engström assumes as an electronic music composer. Both in the studio and in performance, Vurado Bokoda is strictly physical, operating in a tight triangle of machines, bodies, and mistakes.This emphasis on limitation engenders liberation; each of his compositions can be understood as concretisations of a rule-based awareness of and action against perceived constraints of spacetime. 

Mangling moments and electricity through shifting networks of synthesizers, drum machines, and effects pedals, music producer Vurado Kokoda seeks to blur anthropocentric perspectives of difference: material and immaterial, imagined and actual, distance and isolation. Among these ontologies, music stands as a quasi-sentient being against which other realities attempt to gain traction. 

Through practiced nonchalance, Vurado Bokoda eschews concern so as to directly interact with this being, consult it, become it. In this process of self to sound to self again, hours condense into minutes, and substance emerges from void—but without any outward indication. To the casual listener, apparent only are stumbling blocks of quirky percussion, defective animalistic harmony, imitations of urge and torque: a shimmering isolation of melancholy. 

A proud representative of the Nation of Skweee,Vurado Bokoda is also known by a number of other names, most prominently as Verktyget, Jelly-hip, and Sports Dance Plaza—as well as Ourang-Outang and Tentacles of Miracles, duos of which he is half. He is founder of the Tokyo-based label Gutter Lingo, and co-founder of the Beijing- based label 87FEI87. Glimpses of his visions can also be heard on labels spanning Paris, Stockholm, Portland, Milwaukee, Belarus, and beyond. 

Vurado Bokoda's second full-length solo album, Jagged Orbit, is to be released digitally and on cassette by Ausland Schläge in April 2016. An EP is to follow on Gutter Lingo in May 2016, under his Sports Dance Plaza moniker. 

Visual: Gouqing Xu a.k.a Yefu Liu

Yefu Liu (born 1986 in Beijing, China) is a multi-media and conceptual artist in video as well as performance, photography and sound. He grew up in Beijing and currently lives and works in Beijing. After receiving his BA from Capital Normal University in Beijing, he moved to Baltimore, where he got his MFA in Maryland Institute College of Arts. Yefu’s recent projects have been exhibited at Kimberly-Klark (Queens, NY 2015), M I N T (Columbus, OH, 2014), Vox Populi (Philadelphia, PA 2014), Decker Gallery (Baltimore, MD 2014), Shella & Richard Riggs and Leidy Galleries (Baltimore, MD 2014). Yefu’s video has been screened at Chicago Underground ACRE TV show (Chicago, IL 2014). He participated the residency program at Kala Art Institute (Berkeley, CA 2014). He had received rewards including Photographic and Electronic Media Graduate Fellowship (2012-2014), and his is the finalist of Toby Devan Lewis MFA fellowship (2014).