Channa Boon

zondag 4 november 2001

The Hague Forest by Night

Broedplaatsen project Quartair Den Haag

22 slides, 1 lightbox, various dimensions and media

woensdag 4 juli 2001

Dutch Light

Lightbox, 1mtr x 70 cmtrs x 10 cmtrs
The Hague forest by night

donderdag 4 mei 2000

Dutch Light 2000

Lightboxes - various dimensions
wood, duratrance, epoxy resin, thread, beats

donderdag 7 augustus 1997

LUXUS artist's run space The Hague

First release LUXUS Label 17'inch vinyl record with Julian Dashper, NZ, 1997
photograph by Channa Boon

zondag 13 oktober 1996

Night Train

B/W pinhole video camera mounted on modeltrain

Haags Centrum Actuele Kunst Den Haag 1996

top: Niagara Artist's Company, Niagara Falls, Canada 1998
below: Stroom, Den Haag 1998

zondag 1 september 1996

Night Train

Nighttrain
Total Museum of Contemporary Art, Seoul, South Korea, 2003

zaterdag 9 september 1995

Short film shot at Wah Nam Hong Chinese Warehouse in The Hague
Shown during 'Filmblut' at LUXUS artist's run space The Hague.
Mr. Kong sings his own emigration story in the classical style
fashionable when leaving his home town Hong Kong during the 80-ies.

Karen Barad

Trained as a painter, Boon produces films, installations, drawings, performances and objects that can function together as one work or exist as solitary pieces. While Boon engages with the body, space, the landscape, sound and communities in intuitive and cross-sectional ways, her writing and research functions as a reservoir of knowledge and direction within this practice. Her research is based on a trans-disciplinary practice, connecting the different fields of (embodied) knowledge with each other. The source image and material in the work consists of the zooming – in to a story, a history or a phenomenon at the one hand and the connection of this with the physical, the body and the now on the other. This ‘physical’, ‘body’ or ‘now’ is very much akin to the so called ‘thick present’ in the work of philosopher Karen Barad; an ongoing now-ness that is connected on a deep and complex level within the tissue of existence. For Boon this thick present is a tangible and a possible translation of a phenomenon that she calls the ‘Acoustic Body’; a heightened perception and experience of the human body, the landscape, space and the object, and thereby the perception that these are all carriers of energy and exchange and connect with each other on a subtle level. Boon uses the word acoustic because she registers this exchange on a sub-acoustic level; you could also call it vibration. Boon gives shape and highlights this 'sound' or sub-acoustic experience through her work.

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