Berlin-based calligrapher and mixed-media artist Jiannyuh Wang 王建宇 reimagines the boundaries of traditional Chinese calligraphy. Their work breathes new life into this ancient art form through innovative fusions of mediums, styles, and deeply personal experience. By bridging Eastern and Western cultures, Wang creates space for dialogue—inviting audiences into open, thought-provoking conversations.
Your work at the recent Keyi x Oxi fashion week event was beautiful. How did you begin learning calligraphy, and when did it become an art form that you wanted to seriously pursue?
I was very lucky to grow up with calligraphy, as my grandfather was a calligraphy artist. I learned from him, starting with brushes rather than pencils or pens to write Chinese characters.
After moving to Berlin, I stopped writing for a while. By 2020, in my second year there, I couldn’t travel home due to the global lockdown, and I felt deeply homesick. At the same time, I witnessed a rise in racism against Chinese people, which soon extended to the broader Asian community. Hearing news from within China only added to the emotional weight of that period.
I felt an urgent need to express myself, so I picked up my brush again and began writing. That was the moment when calligraphy became more than just a practice—it became my weapon. It became an art form I was determined to pursue seriously.
Your work feels like a bridge between history and modernity. You’ve found a sweet spot between paying respect to the history of calligraphy and Chinese culture through your work, while also bringing in modern elements through dance and music. Is it very important to you to find ways to connect people to your cultural history through your art? What other values or ideas do you hope to share with your audiences through calligraphy?
Thank you so much—that’s a huge compliment. I learned calligraphy from my grandfather; it’s been passed down through generations and is deeply connected to my roots. Calligraphy is one of the most traditional and refined Chinese art forms, and I suppose that’s where the historical aspect enters my work. Every brushstroke carries a rhythm, much like the fluidity of music or dance.
After moving to Berlin, I became strongly influenced by electronic music and the club scene. As a raver and club dancer myself, these influences naturally merged with my calligraphy practice. The connection happened organically—calligraphy has its own rhythm, just as dance and music have their own forms of expression. Bringing them together felt intuitive.
In ancient Chinese society, calligraphy was not only an art form but also a symbol of power and cultural capital, often associated with the elite. This historical weight is deeply contradictory for me because, as a queer person, I belong to a marginalized community. Much of my art and performance work explores these tensions—between tradition and modernity, power and marginalization, history and personal identity.
Organic movement seems to be such a huge part of calligraphy. In what ways does purposeful, organic movement impact your art and life beyond calligraphy? What other elements inspire your art?
When writing calligraphy, each brushstroke follows a sequence: a beginning (起笔), a movement (行笔), and a completion (收笔). This process embodies the organic flow you mentioned. It teaches me to approach things with intention—to see them through from start to finish while remaining present throughout.
For me, calligraphy is a form of meditation—a state of deep concentration where I simultaneously lose and find myself. It not only inspires my art but also shapes my approach to life. It reminds me to stay aware of my surroundings and community, to not take myself too seriously, and to create space for others.
Beyond calligraphy, I draw inspiration from ancient Chinese mythology, philosophy, and poetry. I’m also deeply influenced by electronic music and modern technology—especially motion tracking and artificial intelligence—and by the intersection of tradition with contemporary digital expression.
“Calligraphy” translates to “beautiful writing”. Maybe this varies with each project– but what do you write in your art? Do you write your own work, or share stories, poetry, etc?
In different projects, I write different things. Much of my work is inspired by ancient Chinese philosophy—particularly Confucianism—and classical poetry, texts that still hold relevance in today’s world.
Recently, I’ve been writing 大道之行也 (from the Lǐjì 礼记, The Book of Rites) as a way to process my own struggles and distress over the chaos in the world. It is deeply painful to witness innocent people suffering and dying. In times like these, I turn to ancient Chinese poetry and philosophy, searching for wisdom that might offer even a small sense of clarity or inner peace. 大道之行也 speaks to the vision of a just and harmonious society, which feels especially poignant in today’s turbulent times.
Is it difficult to share this intimate visual art form knowing that many audiences can not understand what you are writing? Just the movement and interactive process is beautiful, but with a whole other side to the art, do you ever feel as though your audiences miss some of the meaning of your art?
Of course, but that challenge also pushes me to further develop my performance. I strive to communicate meaning not only through the writing itself but also through movement, costume, and the overall setup of the performance.
For example, in one of my first performances, Crimson Fulu 符籙, I explored rebellion against the feudal ideologies surrounding sex—challenging traditional constraints through the power of spiritual symbols. The piece aimed to de-stigmatize sex and kinks, advocating for sexual liberation and bodily autonomy. I collaborated with my amazing artist friend Sunsa, who began the performance hidden under paper, symbolizing the limitations imposed by conservative mindsets. As I wrote and let the ink bleed through, the paper gradually tore open, and she emerged—physically embodying self-expression and liberation. Even if the audience didn’t understand the exact words I was writing, they could still grasp the message through the performance itself.
More recently, I’ve been exploring AI as a tool for artistic creation in collaboration with artist Tymm Novyy. By feeding my handwritten calligraphy into AI to generate visual interpretations, I’m experimenting with new ways to transcend linguistic barriers and create an art form that extends beyond traditional calligraphy.
How did you decide to merge dance with your calligraphy performance? What other art forms do you hope to incorporate into your work with calligraphy?
I feel like I’ve already touched on this—calligraphy itself is a dance of the hand. Influenced by electronic music and the club scene, the fusion of movement and calligraphy came together naturally for me.
Beyond dance, I’m also exploring digital art, AI, and live soundscapes through motion tracking. In this process, my body and the gestures of calligraphy become instruments, allowing me to create more immersive and interactive experiences.
Do you have a sense of community with other artists who specialize in similar art forms? What role does community play in your art and in your life, as an artist who specializes in a medium so influenced by culture/community?
Unfortunately, there aren’t many calligraphers in Berlin, but I always value opportunities to exchange ideas with artists who share a similar practice or mindset. While in Japan, I was very fortunate to meet Mamimozi and have a meaningful conversation with her about calligraphy and performance.
Beyond individual connections, I’ve been working on building a Pan-Asian creative community. Together with Temple Rat, Echo Tang, and Merilyn Chang, we founded Jiā La 加辣, which translates to “add some spice” in English. It’s a Berlin-based collective dedicated to Asian(-diasporic) music, performance, art, and visual culture.
Community is where I feel safe—where my soul feels nourished. I’m deeply grateful for the spaces that have supported me, and I want to create one of my own: a space that offers safety, creativity, and empowerment for Asian(-diasporic) and queer people like me.
What are some highlights of your artistic career thus far? What do you hope to accomplish in the coming year through your art?
I would say I officially began my artistic career in 2023, and I feel incredibly fortunate to have received such understanding and support from audiences in Berlin. Some highlights so far include my exhibition at Beijing’s 798 Art Zone, performances at 48 Stunden Neukölln, Whole Festival, and the awarding night for Tag der Clubkultur by the Club Commission. I’ve also been grateful to receive funding from Musicboard and Musikfonds for events I’ve organized.
This year, I hope to bring my art back to Asia. I’m currently working on a publication with Singaporean poet Jeannette Chua, and I’m eager to collaborate more with institutions to help pass on calligraphy as an art form to younger generations.
Credits:
Artist: @jiannyuhw
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Our next event : ELSE – Berlin – 29.05.2025
