I accumulated a lot of anger towards the end of 2025 so here comes this set - alternative pop/rap with grimy sounds @byyb.radio #bass#club#alternativepop
Get a good fuck from life and your loved ones on Valentine’s Day 🍑🍑 and don’t forget to dance 👄
Listen from https://youtu.be/-v4_dQxqWR0?si=hdQ9mu6wLFl2svSf
**What if the body becomes the only vessel of a memory?**
This is an instruction drawing I did for my last work. Signs and line weights developed in AutoCAD actually indicate different amount of glue on panel and several techniques of applying it. Yet it’s functional, I’m always drawn to its aesthetic. Recently, I could finally articulate more layers I have pondered on relating to this work flow. Here is an excerpt from something I wrote last week:
“…like an album, a place to gather fragments, gradually expanded into an archive where layers of bodily knowledge could be stored without narration. Over time, these traces arrange themselves like a constellation: dispersed yet connected, revealing relationships only when seen from the right angle. Mapping becomes a coded language I write to myself, a private system that protects the intimacy of each memory while allowing it to remain alive in motion.”
The full article is floating at: /document/u/0/d/1GOZgVpDiWOaCgu5ftCAxY2vU7ao5weo6TjDmPrb1BAE/mobilebasic
An object I have been obsessed with lately
玉琮 (yù cóng), a ritual instrument that embodies the circle as the sky and the square as the earth, allowing the spirits of ancestors attached on its surface to travel through in the void when ritual is performed. The whole design works like a miniature of the cosmos.
It comes from a prehistoric civilization, 良渚 (Liángzhǔ), in ancient China around 5000 years ago (3300–2300 BC). The object has a weird modern look due to the standardization of its original motif and remains mystical but was favored by other cultures after the kingdom disappeared. People once thought it was the axle of a wheel.
Two weeks ago, on my last day in Guangzhou, I placed a work at my mom’s Dai Clan Ancestral Hall.
She grew up in this village and attended primary school in that very hall. In her descriptions, her childhood was spent among ponds, woods, and deities — a communal life of harmony that I have never experienced myself, yet feel familiar with through her. In less than half a year, this village will become one of the busy logistics hubs of the international airport. The last surviving points of reference for our memories will vanish with the complete transformation of the landscape. At such a moment of transition, exhibiting this work — which carries my mom’s childhood memories — became a kind of ritual. I wanted to commemorate the bond she once had with this land, and also my bond with her, as her child, who has inherited an ideality through the beauty she once experienced in the world. But as an artist, beyond inherited historical narratives and identity, I also want to use the interplay of materials and spatial composition to capture a more complex reality — a contemporary truth that wavers between old and new, between bodily remembering and forgetting, between clarity and obscurity.
Many thanks to all the friends who came that day, keeping me company as we watched planes fly over the tiled roof of the hall. Special thanks to @justaboyfuckinaround and @unmashi for helping me document the work, and also to my dad, who, despite his doubts, took part in the entire making process. 🛫🌌
BB, in a world of distortion, decadence and annihilation, I still wanna dance with you. 🪦🪐
Selecting from nostalgic tunes and cosmic sounds, here is a high energy set i compiled lately. 💧🪞
P1 Performance 游魚出聽 yóu yú chū tīng w/ @smugh.uker at @_lucid_lucid 🦇
Recording support @liquid_dolls_sh 🖤
Listening from: /irie-cao/soup-it-uppp
Track list is on the last page
