Jacqueline Kiyomi Gork's Gama 1213-B: A Sonic Memorial to Silence and History

Jacqueline Kiyomi Gork's upcoming exhibition, Gama 1213-B, at Canary Test in downtown Los Angeles, serves as a poignant exploration of the intertwined histories of Japanese-American internment and the experiences of Uchinanchu during the Battle of Okinawa. The exhibition reflects on the trauma of these historical events, particularly focusing on the silence surrounding them.

The Guardian

Gork's great-uncle, a U.S. soldier during World War II, was stationed on Okinawa while his family faced internment at Tule Lake in California. This juxtaposition of experiences—one of combat and the other of incarceration—highlights the complex legacy of war and displacement. Gork notes that the caves of Okinawa, used as shelters, also became sites of despair due to Japanese propaganda urging local residents to commit suicide rather than face capture.

The Guardian

In her artistic practice, Gork has long examined the relationship between sound and movement. However, Gama 1213-B marks a shift towards a more passive engagement with sound, allowing it to envelop the audience rather than being created by their movements. The exhibition features a sculptural work made from clay sourced from Okinawa's caves, alongside an ambisonic sound piece that recreates the silence of Tule Lake. This sound piece was developed through recordings processed to simulate the auditory experience within the barracks, emphasizing the often-overlooked sensory aspects of historical sites.

The Guardian

Gork acknowledges the difficulty in discussing the internment camps, which have been shrouded in silence and shame. She reflects on how the resurgence of discussions around immigrant detention centers during Donald Trump's presidency prompted her family to confront their past. Critics may argue that such artistic representations risk oversimplifying complex histories or that they may not fully capture the lived experiences of those affected.

The Guardian

Gork articulates her intent with Gama 1213-B as a means to honor the silences of history, stating, “It’s more about the unknown than anything... being OK with not knowing.” This sentiment underscores the exhibition's aim to create a space for reflection and acknowledgment of the past.

The Guardian

Gama 1213-B is described by Gork as an unfinished project, suggesting that the exploration of these themes will continue to evolve. The exhibition invites viewers to engage with the complexities of memory and history, fostering a dialogue that extends beyond the confines of the gallery.

The Guardian

• “The camps are something difficult to address because there’s been so much silence and shame around them,” — Jacqueline Kiyomi Gork, Artist

The Guardian

• “And for me the way I could do that was through my family and their relationship to history.” — Jacqueline Kiyomi Gork, Artist

The Guardian

• “This is a time-based work, so it’s through spending time with it, almost like a meditation, [that one can] sit with and acknowledge [what happened].” — Jacqueline Kiyomi Gork, Artist

The Guardian

Gork's Gama 1213-B stands as a significant artistic endeavor, bridging personal and collective histories through sound and silence, and inviting audiences to reflect on the legacies of trauma and resilience.

The Guardian