Exhibition

to hear all the sounds in the world continues Wong’s investigation of the hauntological in the material culture of Chinese ritual and ceremony. In this mix-media installation, Wong explores how joss paper, the currency used in the afterlife, acts as tools of remembrance and power in Chinese eschatology. Using joss paper dedicated to Guanyin, the Buddhist goddess of compassion, Wong reimagines the divine figure not as a singular entity, but as an autonomous network of individual female spiritual beings. Focusing instead on the iconography of Guanyin’s nameless devotees, Wong posits how the making of a goddess might constitute the remembrance of many nameless women. to hear all the sounds in the world seeks the multitude in the seemingly singular, and in the afterlife of histories –revolutionary, feminist, and ancestral, that are ever present in the mythic.