{"id":16092,"date":"2026-04-30T16:04:27","date_gmt":"2026-04-30T08:04:27","guid":{"rendered":"https:\/\/asef.org\/aecfest\/?p=16092"},"modified":"2026-04-30T16:11:35","modified_gmt":"2026-04-30T08:11:35","slug":"aecfest-2026-interview-with-daniel-kok","status":"publish","type":"post","link":"https:\/\/asef.org\/aecfest\/aecfest-2026-interview-with-daniel-kok\/","title":{"rendered":"AECFest 2026 | INTERVIEW WITH DANIEL KOK"},"content":{"rendered":"\t\t
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DANIEL KOK, CO-LEAD ARTIST OF HOME BOUND ALONGSIDE LUKE GEORGE, SHARES MORE ABOUT THE MONUMENTAL ART INSTALLATION WHERE AUDIENCES BECOME COLLABORATORS IN CREATING A SOCIAL TAPESTRY OF UTRECHT, AT AECFest 2026.<\/p>\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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1) You and Luke George have been collaborating for over a decade. What first drew <\/strong><\/em>you to work together, and what has allowed this collaboration to endure and evolve <\/strong><\/em>across distance, shifting contexts, and your individual practices?<\/strong><\/em>
Luke and I were first drawn together by a shared interest in how inter-subjective politics can be made visible and put into practice through performance. Very early on, it was clear that we were both interested in work that created a live situation where people had to feel their way through questions of proximity, vulnerability, and attention. That gave the collaboration a strong base from the beginning: we were not simply making work side by side, we were thinking together about what it means to gather people, to hold space, and to make relational dynamics tangible.<\/p>

What has allowed the collaboration to endure over more than a decade is that it has never been static. Luke and I have both continued to develop our individual practices, and that has kept the collaboration alive rather than repetitive. We each bring different instincts, histories, and ways of seeing, and that difference is part of the strength of the work. Even when we are working across distance or in very different contexts, we return to a shared language that has been built over years of making, touring, talking, and testing ideas together. That shared language is not fixed; it keeps changing as we change. In that sense, the collaboration is less like a finished partnership and more like an ongoing conversation. I also think the collaboration lasts because it is based on trust, but not the passive kind. It is an active trust that allows us to disagree, to question each other, and to let the work become more complex than either of us could have made alone. Luke and I have always been interested in work that stays open to uncertainty. That openness means the collaboration can travel across settings, institutions, and geographies without losing its core. What stays constant is not a style, but a commitment to working through relation itself \u2014 with honesty, responsiveness, and care.<\/p>

2) Rope is a central material in your work, and it often involves close physical proximity, constraint, and bodily negotiation. What does working through rope allow you to explore that other forms cannot? And how do you navigate the ethical and relational dimensions of working so closely with the body in this practice?<\/strong><\/p>

Rope gives us a way to work with relationship in a very direct, physical, and visible form. It allows Luke and I to explore trust, restraint, consent, tension, and care all at once. Other materials can suggest these things symbolically, but rope makes them immediate. It shows what it means for one body to affect another body, and for that encounter to be shaped through attention, pacing, and mutual awareness. The material is simple, but the relationships it produces are not simple at all. That complexity is what keeps drawing us to ropes time and again.<\/p>

What rope offers that other forms do not is a way to make negotiation visible. When we work with rope, the audience can see that something is being worked out in real time. The body is not just posed or represented; it is in relation. That relation can hold tenderness, discomfort, resistance, stillness, and care all at once. Rope is powerful because it is both practical and symbolic. It binds, but it also connects. It can create structure, but it can also expose fragility. For us, that makes it a rich language for thinking about how people live together, not just how they touch.<\/p>

At the same time, working this closely with the body requires serious ethical attention. Luke and I are always thinking about consent, boundaries, and the responsibility that comes with proximity. We do not treat touch as neutral. We know that every gesture has social and emotional consequences, and that the body carries personal histories that must be respected. So the process has to remain responsive rather than fixed. We remind ourselves to check in constantly. We try to stay alert to shifts in comfort and to what the room is communicating, not just what we think we want from the performance. That includes the audience too, because the act of witnessing is also part of the ethical field.<\/p>

For us, the point is not to dramatise vulnerability for its own sake. It is to create a setting where vulnerability can be held carefully and where the conditions of trust are made visible. Rope helps us ask how intimacy is built, how power moves, and how consent is continually negotiated rather than assumed.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\tDaniel Kok and Luke George at Home Bound in Melbourne, Australia \u00a9 Gregory Lorenzutti\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\tHome Bound in Melbourne, Australia \u00a9 Gregory Lorenzutti\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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3) You have described Home Bound as a work that requires a deep connection to the specific locale in which it is installed, and that it would need to be fundamentally reimagined when presented in a different context from its first iteration in Melbourne. What has the process been like of working with Utrecht\u2014its spaces, communities, and collaborators\u2014and how has this shift in context shaped the \u201creimagining\u201d of the work?<\/strong><\/em><\/p>

Working with Utrecht has meant accepting that Home Bound cannot simply be transplanted from one place to another. Luke and I have always understood the work as deeply dependent on the specific social and spatial conditions of the place where it is installed. That is especially true in Utrecht, where the work has to respond to the energy of the city, the character of the site, and the people who gather around it. So the process has not been about reproducing the Melbourne version. It has been about learning about Utrecht, meeting a wide range of persons and communities, and allowing the work to be remade through these new encounters.<\/p>

What has been especially meaningful is the way the work becomes shaped by local communities and collaborators. Home Bound is not a closed object; it is something that grows through participation, workshops, and shared labor. In Utrecht, that means different groups bring different textures to the work \u2014 different skills, different stories, different ways of approaching rope, weaving, and collective making. That local specificity matters because it changes not just the appearance of the installation, but its meaning. The work becomes a reflection of the people who have helped form it. For instance, we are specifically interested in the history of colonialism, migration and multiculturalism that is integral to the social fabric of Dutch society today.<\/p>

For Luke and I, that process of reimagining the work each. Time is the point of the work. Home Bound asks what it means to make \u201chome\u201d through relation, rather than as a fixed place or identity. In Utrecht, that question takes on new dimensions because the work is shaped by the particular public space, and by the communities who bring knowledges from different cultures and generations into it. The installation becomes an accumulation of gestures, conversations, and traces. In that sense, the local context does not just influence the work \u2014 it produces it.<\/p>

I think that is what makes the project alive. It does not claim to be universal. Instead, it becomes specific each time it is made, and that specificity is what allows it to speak to broader questions about belonging, movement, and connection.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\tHome Bound \u00a9 Gregory Lorenzutti\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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4) As an ongoing and evolving installation, Home Bound changes through workshops and participant involvement. How do you envision its relationship with audiences unfolding and transforming over time?<\/strong><\/p>

With Home Bound, Luke and I do not think of the audience as separate from the work. The audience is part of how the work comes into being and how it continues to change. Because the installation develops through workshops and participation, the relationship with audiences is not fixed at the outset. It unfolds gradually, through presence, contribution, observation, and conversation. That means the audience is not only seeing the work \u2014 they are helping to shape it.<\/p>

What interests us is that audience involvement can take many forms. Some people may contribute directly to the making. Others may simply witness the process. Others may come back repeatedly and see how the work changes day by day. All of those forms of engagement matter. We do not want to limit the audience to a single role. Instead, we want the work to create conditions where people can enter at different levels and still feel that they are part of something unfolding.<\/p>

Over time, that relationship becomes cumulative. Each encounter leaves a trace, even if it is not always visible in the finished form. The audience helps create the atmosphere of the work, and that atmosphere affects how later participants enter it. In that sense, Home Bound is not just an installation to be looked at. It is a social choreography that is performed by the people it comes into contact with.<\/p>

Luke and I are also interested in how that changes the idea of authorship. The work belongs to us, but it also belongs to the many people whose gestures and presence shape it. That shared authorship is important because it reflects the kind of relation we want the work to model: open, changing, and made through collective attention. We hope audiences experience the work not as something complete and sealed, but as something alive, responsive, and still becoming.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\tHome Bound in Melbourne, Australia \u00a9 Gregory Lorenzutti\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\n\t\t\t\t
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5) Home Bound relies on intense forms of collaboration between artists and participants. What does this say about how artistic processes can create temporary communities or social bonds?<\/strong><\/p>

For Luke and I, Home Bound says that artistic processes can create temporary communities by giving people a reason to gather around shared making. The work does not assume that community already exists. It builds the conditions for it through participation, collaboration, and mutual responsibility. That is what makes the process meaningful. People are not just entering a finished artwork; they are entering a situation in which relations are being formed in real time.<\/p>

What I find important is that these temporary communities are not sentimental. They are made through labor, difference, and negotiation. We wish to point to the sometimes irreconcilable differences between people in any community, as well as the common concerns that people share ultimately. People in any multicultural society bring different knowledges, politics, ways of identification with \u201chome\u201d, and our process has to make room for these differences. That means the community is not based on sameness. It is based on shared attention and the willingness to contribute to something larger than oneself. In that sense, the artwork becomes a container for social relation, but one that remains open and unfinished.<\/p>

Luke and I are interested in the fact that such communities can be brief and still matter. A temporary gathering can produce real bonds, even if those bonds do not last in the same form. What matters is that people have spent time together in a space where care, exchange, and collective responsibility were actively practiced. That is a powerful thing. It suggests that art can do more than represent social connection. It can stage it, test it, and sometimes even make it feel possible in ways that everyday life does not always allow.<\/p>

For us, that is one of the most compelling aspects of Home Bound. It shows how making can become a social act, and how a work of art can become a temporary form of living together. It does not offer a model of perfect community. It offers a lived experience of relation, one that is partial, local, and real.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Daniel Kok<\/strong> studied Fine Art & Critical Theory (Goldsmiths College, London), Solo\/Dance\/Authorship (HZT, Berlin), and Advanced Performance and Scenography Studies (APASS, Brussels). In 2008, he received the Young Artist Award from the National Arts Council (Singapore). His artistic work deals with the politics of spectatorship and audienceship and has been presented across Asia, Europe, Australia, and North America; notably in the Venice Biennale, Maxim Gorki (Berlin), Rising (Melbourne), and Festival\/Tokyo. Still Lives: Melbourne won Outstanding Contemporary and Experimental Performance and Design\/Technical Achievement at the Green Room Awards 2023. As artistic director of Dance Nucleus (Singapore), he develops capacities for artists and trans-local partnerships in the Asia-Pacific. He curates da:ns LAB and the VECTOR exhibition annually in collaboration with the Esplanade (Singapore). He is based between Singapore and Berlin.<\/p>

Luke George<\/strong> is a multidisciplinary artist creating work across performance and installation. Born in lutruwita\/Tasmania and based on Wurundjeri Country in Naarm\/Melbourne, Luke works with rope, tension, suspension, and release. His practice examines how people interact with one another and relate to their environment. Luke is interested in \u201csafe spaces\u201d that allow for both care and risk. His work is informed by queer politics and communal spaces, where people are neither singular nor isolated. Bodies of difference can intersect, practice mutual listening, and take responsibility for themselves and one another. Luke presents work across Australia, Asia, Europe, and North America, including at the Venice Biennale, National Galleries of Victoria and Singapore, and Arts Centre Melbourne. He was a 2019 Australia Council for the Arts Fellowship recipient, appointed inaugural Artistic Associate of Temperance Hall in 2020, bequeathed a Chloe Monroe Fellowship in 2022, and is a studio artist at Collingwood Yards.<\/p>

Cover photo: Home Bound in Melbourne, Australia \u00a9 Gregory Lorenzutti<\/em><\/strong><\/p>

Read more about Home Bound here<\/a> and find out how you can get involved.<\/p>

Discover the full AECFest programme<\/a><\/span>.<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    DANIEL KOK, CO-LEAD ARTIST OF HOME BOUND ALONGSIDE LUKE GEORGE, SHARES MORE ABOUT THE MONUMENTAL ART INSTALLATION WHERE AUDIENCES BECOME COLLABORATORS IN CREATING A SOCIAL TAPESTRY OF UTRECHT, AT AECFest 2026. 1) You and Luke George have been collaborating for over a decade. 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