Two plastic curtains hang from standing racks

Jacqueline Kiyomi Gork was born in 1982 in Long Beach, California. Gork completed academic stints at San Francisco Art Institute and Stanford University, where she studied the history of communication technologies, acoustics, and computer music. After an encounter with the minimalist composer La Monte Young’s Dream House in 2002, Gork began connecting her penchant for movement with what she was hearing. Following this tack, she threw herself into the work of Merce Cunningham and John Cage and the creative methodology of Anna Halprin as a way of reckoning with the potential for collaboration between dance and other genres, such as music and sound. Gork cultivates this hybrid tutelage through sound installation, sculpture, and performance that together aim at reconfiguring the traditional hierarchies between audience, performer, and architecture. This blurring of engagement begins with Gork’s materials, which also double as her subject: speakers, soundproofing curtains, and even performers are both the architecture of the work and its source of inquiry. The specter of dance and sound looms over this material back-and-forth, with Gork regularly considering the choreographic potential of acoustic experience—from pop music to deep listening—in challenging existing modes of engagement with art. Gork’s work has been the subject of solo exhibitions at Empty Gallery, Hong Kong (2017); 356 Mission, Los Angeles (2017); Western Front, Vancouver (2016); The Lab, San Francisco (2016); and Yerba Buena Center for the Arts, San Francisco (2016), among others. She has participated in group exhibitions at San Francisco Museum of Modern Art (2017); V-A-C Foundation, Moscow (2018); Mills College Art Museum, Oakland (2015); Institute of Contemporary Arts, London (2012); and Berkeley Art Museum and Pacific Film Archive (2011), among others.