Performance

2022: Run Away from the Zipties

 

Three Semiotic Studies, 9’18”, 2019

The performance is divided into three segments:

    1: I locate myself in a separate space from the audience. To start off, an audio file was played which led the audience’s attention across the street (into Target) to see my performance. While they stare at my movements, they became the performers for any shopping witnesses. The boundary between the roles of the audience and the performer was blurred during these acts. The instructive voice continued to inform the audience where I was, but in a way that pronounces the introductive sentences letter-by-letter, therefore making any comprehension impossible. The purpose of the entire performance was to allude to the limits and duality of language and communication; this design concerning pronunciation contributed to this concept.

    2. At the end of Part 1’s audio file, another instruction was given, asking the viewers to look for me in the passing trains in between Target and themselves. While they were searching for me, I returned to the critique room and explained "my presence" on the train through a speaker. I pointed out that our individuality was, in fact, a combination of different labels, which we share with others. Therefore I listed some of my characteristics and assigned them to stochastic passengers, who were actually on the train. I represented myself in them, therefore I was on the train when audiences were looking.

    3. I captured a projected paragraph with a piece of tracing paper and read its content to the class. It was impossible to capture the full paragraph concurrently, so the only way to deduce the whole content was to proceed by adjacent segments, hinting at the common incompletion and fragmentation in language. The audiences faced a mirrored text body that could barely be read, again elucidating the duplicity in communication and comprehension.

 Led by the Sound, 8’51”, 2018

Overwhelmed and consumed by daily events, I want to perform a routine forcefully led by a predetermined soundtrack. But there is a temporary escape in the state of autonomy. What happens to the person after the escape is left for the viewers to imagine. 

 Accumulation, 12’12”, 2018

 Reading Material, 3’30”, 2018

 Cutting Surface

 Balloons, 3’21”, 2018

The Culture Shall Live

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