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20 minutes at M:ST Performative Art Festival, Oct 9, 2014, at Tuck Comptempary Art in Calgary, Canada

1. i stand on a piece of Chinese traditional Paint, holding a bowl of water and pinching my forehead with water untill there is a dark red dot appearing on my forehead.

2. i continue pinching my forehead while bending my body with tension.

3. i use a porcelain spoon to scratch my neck firmly until there is a dark red line appearing from my lower chin to upper chest.

4. i turn my back, pouring ink from a teapot from my head on my arched back. After the ink was gone, I suddenly shake my head; the teapot smashes to pieces.

5. I knee on the painting, lift a water gun on the floor, point to my head and shoot, and then point to my heart and shoot. The actions of shooting at my head and heart are repeated with rhythms until the ink in the water gun runs out.

photo credit: Tanya Doody

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solo exhibition at Article Artist-Run Centre, Montreal, April 25- June 1, 2014.

photo credit: Guy L’Heureux

Between Reality and Transcendence includes 12 pieces of 70’’ x 40” photographs.

Absence is a form of presence. The series of photographs is divided into diptychs acting as mirrors in which the absence of the other is reflected as a form of presence. This work tells stories of failure in romantic relationship through symbolism, gesture, and language. In this work, I use my body to play a couple in domestic lives: I wear the husband’s clothing to present his presence. The wife is on the left, and the husband is on the right. This division also physically enacts the separation of the couple. The body in this work is not only an interface that functions as a communicative vessel, but also a deeply felt expression of subjective reality. This work transcends personal experience and reality. It is an embodiment of a melancholic longing for an unrecoverable past and a memento mori as a constant reminder of the inexorable passage of time.

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installation: video, digital prints, bed, side tables, and lamps,

performance: 12 hours, May 15-17, 2014, University of Toronto Art Centre

I started the Husbands and I performance in 2009; I wore my Chinese traditional dress, walking on streets in Vancouver and asking white males to have photo taken with me by suggesting them to be my husband for a minute. I have had photo with 325 men. In September 2010, I advertised myself in various media as “an exotic, compliant and artistic Asian girl, looking for a white husband who would like to take me to his home and live with him for a day as his mail order bride.” I lived with men who responded my advertise a day. This performance ended in June 2011. During the exhibition, I stayed on a bed 12 hours in the gallery, inviting audience to come to my bed to chat and sleep with me.

This work is part of  Through the Body, CONTACT Photography Festival, and exhibited at University of Toronto Art Centre, Toronto, April 29-June 28, 2014.  Curated by Dr. Matthew Brower, Fu Xiaodong, and Yan Zhou

photo credit: Toni Hafkenscheid

03_Perforamnce in Abortion March 01_Perforamnce in Abortion March 04_Perforamnce in Abortion March 05_Perforamnce in Abortion March i have lived as a pregnant woman for 10 days at the day i landed to Dublin on September 19, 2014. i was like that wherever i went and whatever i did. i also attended to Abortion Rights Campaign Ireland on September 27,2014, and marched with 5000 people to support Abortion Right,  and stayed in a dog cage as part of Dublin Live Art Festival,  This performance ended at Dublin airport at the day i left Dublin.

photo credit: Róisín Murphy

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at Dublin Live Art Festival, 2014, photo credit: Róisín Murphy and Fi Killeen

i have lived as a pregnant woman for 10 days at the day i landed to Dublin on September 19, 2014. i was like that wherever i went and whatever i did. i stayed in a dog cage as part of Dublin Live Art Festival,  i also attended to Abortion Rights Campaign Ireland on September 27,2014, and marched with 5000 people to support Abortion Right.  This performance ended at Dublin airport at the day i left Dublin.


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performed at Legacy, Qouleur Festival, Montreal, 2014. 25 minutes, performed by Viku Chan

“It’s a Boy or Girl” is a performance that deconstructs sex/ gender binary through creating a scene about gender debates between two research colleagues.

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20 minutes at Phi Centre, Montreal, as part of Encuentros 2014–Choreographing Social Movements in the Americas, June 24, 2014, photo credit: Christian Bujold

I stand on a piece of traditional Chinese Ink Wash Painting, pouring ink from the teapot from my head on my arched back. After the ink iss gone, I suddenly shake my head; the teapot drops on the floor and smashes to pieces. I knee on the painting, lift a water gun on the floor, point to my head and shoot, and then point to my heart and shoot. The actions of shooting at my head and heart are repeated with rhythms until the ink on the water gun runs out.

After living aboard as a Chinese for 12 years, I noticed there is a tremendous change inside me: something that has nurtured and cultivated me has gradually faded and forgotten. The gesture of shooting myself with ink is a political gesture. It is not only an apology for my twelve-year absence but also a manifestation that reveals my urgent needs to renew my lost tradition and culture. The ink is an essential material for Chinese traditional painting and calligraphy. In my performance, the ink is not to be used as an artistic tool to reproduce the appearance of the subject, but to be used as a weapon against myself. this performance examines relationships between me and the place I live, between what I have lost and what I have gained. This performance is also a ritual meditation. In this suicidal ritual, I baptize myself with Chinese ink in order to be saved from fear of loss, preserve my identity from the process of self-transformation, and to capture my stray soul in a foreign land.

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