Yen Noh is a visual and performance artist. Her practice engages with modes of linguistic and paralinguistic performativity as a way to challenge the cyclical violence of racialised and gendered identity and its (re)presentation. Throughout, Noh is concerned with possibilities of language that embody the unspeakable beyond linguistic norms and without reclaiming subjectivity, and, in doing so, traverse voices of struggles in collective yet unnamed movement. Her current research continues this line of questioning by thinking “spectral infrastructure” through unmeasured coalition of “spirited matter,” on one hand, and the political invisibility of radioactive colonialism, on the other. Attending to the orally driven, vernacular forms of shamanic performativity, whose ritualistic congregation celebrates the a-genealogical filiation of women and sexuality as a gesture of communicability, Noh explores the ways in which the affective modalities of indigenous feminist practice inform a communal force of life for social and ecological justice. Her specific focus is on the transboundary anti-nuclear activists’ group “Nevada-Semipalatinsk” in both enduring and transforming the unseen matter of radioactive mutation. The entanglement of reproduction and recovery is a main anchor for her engagement in connection with Eurasian imaginaries of affect. Her recent performances, exhibitions, and contributions, both in collaboration and individually, have been at We Owe Each Other Everything, Casco Art Institute, Utrecht, 2020; Representation, Kunstlicht, 2020; Considering Monoculture, deBuren, Brussels, 2020; The Im/possible Avant-garde: Can We Talk About MAVO?, Bulegoa z/b, Bilbao, 2019. Noh lives and works in Utrecht, and is part of the BAK Cell, Utrecht, in the Fellowship for Situated Practice.