Conviviality and collective forms of cultural unawareness in Sun Kim’s artwork

from illustration to performance and is mainly focused on the decolonization of sound. Although Sun Kim works have undoubtfully impacted both Deaf and hearing audiences, part of the artwork is often located at the cultural crossroads between both communities. Thus, possibly resulting in different interpretations, as the accessibility to the content creates significant blind spots. Sun Kim’s artwork questions the ownership of sound and sonic cultural boundaries. In Lautplan or Nap Disturbance we explore the topic of sound etiquette and the cultural connotation of sounds which is part of both hearing and Deaf people’s lives, although acquired from distinct standpoints, implying a distinct sonic identity. In English vs Deaf English, the artist exposes two lists of words that enable distinct considerations, with the exception of the bicultural and bilingual audiences. Likewise, in To Point a Naked Finger by Sun Kim and Thomas Mader, a piece which explores the non-manual markers and classifiers that are phonological parameters of sign languages. As the human brain attempts to find possible interpretations, we aim to unravel how Sun Kim’s bicultural artistic repertoire pushes the boundaries of conviviality between the two communities.