Kaixiang Zhang

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Germany (residence), China (citizenship)
en

Kaixiang Zhang is a Berlin-based music producer, multidisciplinary artist, and researcher from Beijing. Moving between sound, movement, and spatial design, his practice explores how ritual and embodied gestures can generate collective forms of agency. Since 2017, under the alias Noooodle King, he has created electronic and electroacoustic works that weave together fragments of different sonic traditions. His ongoing engagement with Capoeira informs a sensibility of rhythm, resistance, and reciprocity — a way of listening through the body. Across installations, performances, and collaborative settings, he seeks to re-synthesise tradition and embodied knowledge into new modes of shared perception.

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research expositions

  • Shared Resonance – A Participatory Electro-Acoustic Ritual (2026) author(s): Kaixiang Zhang published in: Research Catalogue
    This exposition presents a practice-based research project that reimagines electronic music performance through the participatory and ritualistic ethos of Capoeira. Initially motivated by a critique of audience passivity in contemporary electronic performance, the project shifted from “translating” Capoeira into an electronic context toward constructing ritual-based frameworks that foster shared authorship, presence, and collective agency. The research unfolded through iterative processes of design, testing, and reflection. Early on, ritual was established as a conceptual foundation, situating the work within debates on participation, spectacle, and cultural belonging. Subsequent phases explored instrument-making as both technical and symbolic practice, producing DIY electroacoustic objects (Lua and Mar) that embody accessibility, agency, and transparency. Attention then turned to orchestrating the ritual performance itself, experimenting with spatial, temporal, and sensory structures that redistribute power and unsettle the artist–audience divide. The process culminated in a public performance integrating instruments, structure, and reflection, while raising new questions around documentation, belonging, and the fragility of agency. From these iterations emerged the framework of ritual as multi-dimensional architecture: a compositional and perceptual field where time, space, materials, and social dynamics interweave to sustain collective creativity. The exposition combines documentation of instruments and performances with reflective writing, offering both a record of process and a proposition for future development.
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