Sriwhana Spong: A Re-Enchantment of the World

Sriwhana Spong Tasseography of a Rat’s Nest (extended), 2018.
Installation view: A hook but no fish, Govett-Brewster Art Gallery, New Plymouth, 2018.
Courtesy of the artist and Michael Lett Gallery. Photo: Samuel Hartnett.

I met the artist Sriwhana Spong in 2011 when I lived in Auckland, New Zealand, which is also her hometown. Today, she lives in London, and that’s where she spent the lockdown period. When we spoke from our respective lockdowns on a video call, Sriwhana was sporting an amazing high ponytail à la Ariana Grande and big headphones, as if she was a musician in her own recording studio. Sriwhana had sent me some links to her films to watch before the call and I formulated the questions below.

We spoke of many things: how to stay open during a pandemic, the feeling of being “far” from home no matter where you are, her peculiar personal history split between New Zealand and Bali, and how that created the conditions for the choreographic making of her filmic, sculptural and performative work. The following transcription alights on Sriwhana’s interests in animal bestiaries, performance as conduit to other dimensions, and the language of the ancient Christian mystics. Couched in the same refrains and legacy, hers is a language that could possibly re-enchant the post-pandemic world.

Continue reading on so-far

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s