{"id":460,"date":"2024-10-23T23:19:22","date_gmt":"2024-10-23T22:19:22","guid":{"rendered":"https:\/\/nguyentransitory.com\/?page_id=460"},"modified":"2025-11-25T17:36:20","modified_gmt":"2025-11-25T17:36:20","slug":"drifting-to-the-rhythms-at-the-southeast-of-nowhere","status":"publish","type":"page","link":"https:\/\/nguyentransitory.com\/index.php\/drifting-to-the-rhythms-at-the-southeast-of-nowhere\/","title":{"rendered":"Drifting To The Rhythms At The Southeast Of Nowhere"},"content":{"rendered":"\n
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Drifting to the Rhythms at the Southeast of Nowhere<\/em>, 2025, MaerzMusik (Radialsystem), Photo: Camille Blake<\/figcaption><\/figure>\n\n\n\n
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Drifting to the Rhythms at the Southeast of Nowhere<\/em>, 2025, MAIIAM Contemporary Art Museum, Photo: Netisetthi Tathinjun<\/figcaption><\/figure>\n\n\n\n

Nguy\u1ec5n + Transitory unfurl with Drifting to the Rhythms at the Southeast of Nowhere<\/em> through different forms of Southeast Asian folk dances with experimental electronic music. This new work by the duo based between Berlin and Chiang Mai and five movement artists from Chiang Mai, Khon Kaen and Songkhla explores vulnerability, disorientation and trust as approaches of resisting the status quo. Nguy\u1ec5n + Transitory transcend rigid constructions of tradition and superficial novelties: a transformation connecting history to today through processes of fluidity.<\/p>\n\n\n\n

Drifting to the Rhythms at the Southeast of Nowhere<\/em> engenders a locational and metaphorical site of re-connection and transformation, invoking performance practices of Southeast Asian folk dances and a dynamic interplay of sound and choreography. Tradition persists not as a static remnant, but as a living form that shapes our temporal realities. In this way, the piece intertwines traditional dance with music composed by an interactive instrument that is activated by touch and modulated by the negotiation of its players. The body is fused with a touch-activated scenic interface, it is both a conductor and a conduit, generating composition in real-time.<\/p>\n\n\n\n

With this new work, Nguy\u1ec5n + Transitory further their exploration of the space between sound, performance, movement and installation while amalgamating traditional folk and contemporary forms \u2013 navigating between past and present without privileging or diminishing either. The duo\u2019s practice explores the transformative potential of sound as a dramaturgical force deeply interconnected with cognitive memory, lost histories and collective experiences. Their approach is built on an ongoing negotiation between the friction of form and the fluidity of artistic processes. These intersections seek new languages, idioms and modes of expression in performing arts, music and sound. Nguy\u1ec5n + Transitory resist fixed outcomes, embracing the performative process as a site of becoming \u2013 where sound, space and history are constantly redefined and reconstituted.<\/p>\n\n\n\n

Drifting to the Rhythms at the Southeast of Nowhere<\/em> was developed at MAIIAM Contemporary Art Museum and MaerzMusik in collaboration with movement artists from Chiang Mai, Khon Kaen and Songkhla. The work stems from a long-term collaboration and research started in 2018, further iterations were presented at Radialsystem in 2022, followed by presentations at Dhepsiri Creative Space, Faculty of Fine and Applied Arts of the Khon Kaen University and Hu\u1ebf University of Arts in 2023\/2024, supported by the Berlin Artistic Research Programme and the International Co-Production Fund of the Goethe-Institut.<\/p>\n\n\n\n

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