REPUBLIC OF THE OTHER is an art collective consisting of and founded by Jinny Yu and Xenia Fink.
A contradiction in itself, REPUBLIC OF THE OTHER reflects our questioning of geographic and national identities defined by borders and boundaries and is the basis of our research on the attraction to form an entity.
Our collaboration started with the urgency to express our resistance against the generalized right-wing tendency, with nation-states and borders strengthening with great force worldwide and with the conviction that we have something to contribute to the discussion.
Manifestos as a subject matter are our way to describe a utopia where we all accept each other as an “other”.
Our practice is executed through exchanging and developing ideas from our respective locations. Remotely sharing thoughts naturally lend to working with text as a medium; when we occasionally do convene, concepts may also take the shape of installations and video work.
The research includes one and a half years of artistic practice and research about the sonic experience while highlighting the exploration of the ‘Sonic experience of the others’.
It starts from a first-person – myself; what I am listening to now? It quested by sound notation in an explicit form and listening performance to understand the structure of hearing in a philosophical way.
Then, the research shows how the writer’s interest moved to ‘the other’ with the question: What is this I’m listening to and how is it different what you’re hearing? and attempts to bring the method of fiction to reveal the third person’s sonic experience.
Bus 22 is an audio-playback fiction with visual instructions. It helped by two keywords, Anamnesis: mnemo-perceptive effects, and Voice in thoughts: storytelling.
At the last, the author talks about difficulties in the process, nevertheless, the perceived artistic value of the topic as non-objected oriented sound art.
This chapter attempts to analyze and unfold interlinked layers of a research-performance, in two interconnected site-specific Acts. First Act (Collision) happened in St. Moritz 2020 and the second Act was performed a year later in Bern 2021 . By adopting the notion of “cosmopolitics” as a method, this Performance attempts to speculate inter-relativity of human and non-human bodies within the capitalist matrix of species hierarchy. Through comparative analysis of different psycho-cultural/political narratives, this text attempts to map out interconnected traumas of transspecies; wounds and scars that are older than our bodies, older than ourselves. This text uses diffractive reading of these two Acts through the histories of the figure of the mermaid and the witch, In order to queer the hegemonic interpretations of both figures.