
It Always Sounds Somewhere: Sounding Sound Practice in Chinese Mainland and Hong Kong Since the 1990s explores the history and evolution of sound practice in Chinese mainland and Hong Kong from the 1990s to the present. The exhibition examines sound as a dynamic and pervasive form of practice, probing its capacity to engage with reality. Rooted in over a decade of research and fieldwork by British curator and researcher Dr. Edward Sanderson, this exhibition draws from his extensive observations, experiences, and recordings of sound practices in both regions. Featuring nearly 60 works by over 60 artists, it places particular emphasis on recent works by those who have shaped the landscape of sound creation over the past 20 years. Alongside these works, the exhibition presents a rich archive of materials documenting sound practice since the 1990s—videos, photographs, manuscripts, design sketches, web pages, and objects—offering a historical lens through which these practices are revisited within the museum space. There is no shortcut to understanding sound works through discourse alone; instead, we must trace the paths of sound itself, returning to the places where these sounds first emerged—underground passageways, air-raid shelters, barber shops, living rooms, autonomous spaces, and ephemeral performances in online spaces. Here, individual voices break through the harmony of uniform tuning, carving out spaces of self-expression and seeking out their own audiences within different realities. Or perhaps, by removing our noise-canceling headphones, we follow the sound waves through Hutongs, fields, mountains, and along the seashore, allowing the ambient public sounds—often relegated to the background—to momentarily take over our private auditory world. Sound emerges anywhere, anytime, slipping in and out of different realities, unfolding like time in motion. This exhibition, both site-responsive and rigorously conceived, restores the vitality of sound practice within its historical and cultural contexts, offering viewers a comprehensive perspective on its origins and development.
The exhibition It Always Sounds Somewhere aims to better understand the social qualities of sound in space, as it becomes audible through self-made spaces, interacts with existing spaces, and is distributed through publications and online spaces.
This exhibition is based on Dr. Edward Sanderson’s research, writing, and curation on Sound Art and experimental music in Chinese mainland and Hong Kong. His interest in the relationship between sound and space, and its social significance, was inspired by the unofficial or “underground” spaces that have emerged in China. The underground spaces addressed by this exhibition are where sound art and experimental music have found a home and found their agency – their practical potential to make change. The artists move into underground spaces reflected a sense of discomfort, either in the spaces dedicated to art or those dedicated to music. Underground spaces have less ties to the institutional trappings of art galleries or museums, or to those of the formal music venues, and are more receptive to these artists’ practices.
Presenting the works involving various forms of sound in space, arranging them in relation to each other, and your movements as the audience around the exhibition – all these involve decisions on the part of the artists, the curator, the staff and technicians—and now yourselves—which continually set up new social relationships with the sounds.

THE SOUND OF NOWHERE:BUCKET AS PRACTICE
Elaine W.Ho, Michael Eddy
Plastic bucket, headphones, built-in microphone, radio transmitter, soft pads, audio file, 6’24’’, 2011

ECHO OF HAPPY VALLEY
Fiona Lee, Joshua Wai Hon Lam
Sound project, documents, 2018-2019

ENVIRONMENT IMPROVISATION
Wei Wei(VAVABOND), Li Jianhong,mind fiber, Sound installation, CD, cassette, audio files, performance video, documents, 2008-

MIJI CONCERTS #55
Yan Jun, Yan Yulong, Performance videos, 21’36’’, 2011-

COMPOSING FOR A GEAR FACTORY
eon(Xiang, Rui Jun, Yu Mingjing)
Performance, video, score, 34’22’’, 2019

PERFORMANCE THROUGH TWENTY ALPHA
Olaf Hochherz, Chen Bolian, Photograph:Dr.Edward Sanderson, 2018.10.13

Curator

Dr.Edward Sanderson
Dr. Edward Sanderson is a researcher and curator focusing on the non-mainstream contemporary sonic culture of Chinese mainland and Hong Kong. In 2023 Edward co-curated Sounds Like Print at Tai Kwun Contemporary in Hong Kong, a display of publications related to sound art and experimental music with a series of related performances. They are currently working on an archive of sound-related publications from Chinese mainland and Hong Kong, and co-curating the Exit-Entry performance series which brings together artists from Chinese mainland with local artists to play in Hong Kong’s underground venues.
Assistant Curators

Li Huiyi
Li Huiyi, currently the curatorial assistant of Beijing Inside-Out Art Museum, graduated from Central Academy of Fine Art with a Bachelor in Art History and Royal College of Art with a Master in Sculpture. Her research and practice explores the hidden violence in the name of cure during clinical diagnosis, how accidents as daily basis re-shape our perceptions towards the society where catastrophes have become a dynamic system.
Exhibition Date
February 22-June 1, 2025
Exhibition Time
Wed.-Fri. 11:00-18:00
Sat.-Sun. 10:00-18:00
Last Entry
17:30
Exhibition Location
Beijing Inside-Out Art Museum, No.50 Xingshikou Road, Haidian District, Beijing
Ticket Price
Regular Ticket: 20 RMB per person
Concession: 10 RMB per person
Concessions applied to the following audience members:
Students and teachers, with student ID and teacher ID.
Language
Chinese, English
Barrier-free Access
We provide barrier-free access. Please make an appointment by telephone in advance. Tel: (010) 62730230
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