Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.