[ISSUE2.3] The third in this series sees the fulfilment of the transition to Hong Kong and all the subtle shifts in perspective it brings. This issue explores the horizons of knowledge as they are linked to place, especially the evolutions of place that are being experienced in Asia. A key figure in thinking this issue has been that of the migrant and refugee who allows us to think the different experiences of alienation and ungrounding that are becoming ubiquitous with contemporary living.

[ISSUES 2.1 and 2.2] It's like, uh, in the Wizard of Oz, when Dorothy meets the scarecrow and they do a little dance at that crossroads, and they think about going in all of those directions and they end up going in that one direction? I mean, all those other directions, just because they thought about it, became separate realities…

In the opening scene of Richard Linklater's film Slacker (1991), a taxi driver picks up a customer (Linklater himself) from Austin airport. The young man slumps into the back seat and begins a one-sided and opiated conversation on the possible existence of alternate realities that come into being simply by imagining them. The film continues in such manner, piecing together non-events in the lives of unrelated figures constructing a certain contemporaneity from an alien and accelerated margin. The not-taken path - those unexplored avenues in life - present equally expansive and contingent opportunities for other realities to unfold through.

Madame Wang Volume II will reinvestigate these hallucinatory, slacker and critical meanderings characterized through intoxication, hyper-inclusion and un-community. We will attempt to reinstate such a geo-collaborative perspective upon the landscape of critical and artistic practice today, focusing on lysergic collectivity[v2.1], and paranoid architecture [v2.2]

The first issue of this two-part fascicle (v2.1), mobilises self-narration, overlapping fictions and a community that can only be negatively/retroactively construed through the ambiguous lens of the camera. We invite writers and other artists to lead the search for new identifications, unfolding the accidental and non-addressed discussions that are transmitted through distributed, socio-political conductivity/resistance, and the collective suspicion that something is not quite right.


Madame Wang is a journal dedicated to dispersed collaboration, migration and encounter architectures, co-action and post-human writing programmes. It has been formed in response to a mounting need to examine, engage and critique an emerging arts practice that is multiple, data intelligent and severally located.

Madame Wang participates in the unfolding of critical and intuitive modes of production by working closely with artists and other disciplines to deliver texts. Group writing, recursive dialogue, critique and text-artworks are all part of the pallet of approaches to the subject. Through these means, we can properly test the propositions and strategies of distributed decision making and the possibilities of its rhetoric. The journal is not a passive commentator on this exciting field, but instead takes part in its possibilities through a programme of exhibitions and events. Madame Wang is at the heart of a complex of author-agents whose opinions are derived directly from the researches and evidence of their own practice.

The Journal is open to the disobedience of developing tactics of co-action. It aims to promote progressive as well as destabilised textual discussion. It will introduce differing voices within the field, and invite participation in this arena of activity. Madame Wang will invite greater involvement of its reader-writers through annual self assessment platforms, open calls and by developing exhibition opportunities for these complex work groups.

Madame Wang supplements the human/individual with models that are more adapted to respond to the contemporary discoveries of neuroscience, behaviourism and symbiotic intelligence. These discoveries are continually inviting us to reconsider the representations that we have of human action and are providing new tools for thinking about our cultural field.

The journal itself is produced in a variety of ways, mixing conventional practice with newer methods of working together that leave us with lasting reproducible models that can be executed by anyone anywhere. The lone artist as the super-experimental test-site of all that is human is no longer a viable model for arts production. Biological discoveries as well as technical developments are giving us an opportunity to reassess how the human is defined, and what can be achieved with these multiple and post-human approaches.

Editors: Sam Basu & Craig Cooper

Guest editor 2.1 and 2.2: Sabrina Tarasoff

Madame Wang was founded in 2010 by Craig Cooper and Sam Basu. Craig Cooper is an artist living and working in Hong Kong. Sam Basu is an artist and director of Treignac Projet, based in Corrèze, France. Sabrina Tarasoff is a curator pased in Paris, LA and Helsinki,