/A hybrid practice of
body,
space,
sound,
language,
shaped by grief,
informed by
critical systems thinking, philosophical poetics
How does embodied epistemic inference sustain us when structures, certainties, or memory break down, how systems learn through loss — and how can artistic practice render this process tangible?
My work tests hypotheses about grief and its related modes of knowing by designing and constructing hybrid speculative environments that serve as experimental sites of becoming. As a self-enacted ontology, audience is invited to think the thinking, experience the experiencing, and feel the feeling.
Dan Su (su dance110) is a Berlin-based transdisciplinary artist, composer and writer with roots in Yunnan, China. They work with states of rupture, recursion, and transformation, through embodiment, sound, language, and material-spatial inscription. Shaped by grief and displacement, Su’s work attempts to open up unresolved terrains of perceptual space, informed by both their artistic and scientific background.
Their work investigates the embodied aftermaths of structural violence. Beginning with Dark Twisted Mind (2020–2021), which reflected systemic violence as an interactive architecture of complicity, their practice has evolved through Gentle Brutality (2021), a performance-opera on dispossession that explored how beings traversal through such violence, and Shang Can (2024), an internal sonic inquiry into fractured ancestral memory and voice. TRANCEFACIAL (2025), mobile grief temples, bridge towards the forthcoming 7-3 trilogy which continues this trajectory.
They construct systems of belief-updating architectures: installations as spatially anchored inscriptions, compositions in invented languages, and performances that engage situated space. Their practice enacts a critical embodied epistemic inference, drawing from Bayesian and somatic methods. This transdisciplinary approach is driven by a core urgency: to hold space for unresolved states of being.
Dan Su is the founder of 3087 Records and has presented work across both underground and institutional contexts in Europe, Asia and North America. Recent highlights include German Record Critics’ Award (album Persist, category electronic and experimental), and performance at Museum of Modern Art Warsaw (Sanatorium of Sound). Su holds MS and PhD degrees in Quantitative Methodology from the University of Wisconsin–Madison (U.S.), and MA in choreography from the University of the Arts Berlin, and Hochschule für Schauspielkunst Ernst Busch.
*conceptual authorship
My work often develops its own conceptual vocabulary — terms, systems and frameworks. I welcome resonance and dialogue, yet I ask that these ideas be engaged as part of an ongoing exchange. Each frame, such as embodied epistemic inference, sonic mourning, and belief-updating architecture in the context of artistic practice — emerges through lived research, sound, and material experimentation. When curators, writers, or collaborators draw from these frameworks, I invite the credit to remain relational: to acknowledge the shared process and the original context from which the language arose.