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Posts Tagged ‘gender’

The Double


two hours at  Ancienne Ecole Des Beaux-Arts, Montreal, March 23, 2012

photo by: David Romero, Video by: Pirouz Nemati, Edit by: Zohar Melinek

performers: Alida Esmail, Karoline Lebrun, Emily Schon, Kendall Savage, Eliane Abdellahi, Paula Duffy, Danielle Doiron, Emilia Gallo, Janaki Banting, Elisabeth Racine, Anna Mayberry, Zoe Roux, Emilie L-Choquette, Alexandra Cote,  Allie Blumas, Maude Thibault Morin, Claire Evans, Lili Monette-Crepo, Alexandra Cote, Katrina B, and who those i unable to name.

Sixteen females wear red mouthpieces and white bath towels, standing in a row and facing the same direction. They repeat three still gestures: standing, kneeing, and lying on the floor. The performers hold each gesture for five minutes and then move to another gesture.

The gestures in the performance are inspired by gargoyle, a legendary stone-carved grotesque with a spout that normally is designed to convey water from a roof. Mouth serves as the opening for food intake and in the articulation of sound and speech. However, when performers wear the mouthpieces, or when women’s mouth is forced to open, the mouth loses its function. In fact, it silences and disables the women because they are unable to talk when their mouths are widely pulled open. This performance explores another side of the unseen and unspoken—the vulnerability, struggle, shame, and suffering that we are uneasy to share and expose while examining multifaceted struggles of a woman associated with identity, gender, and sexuality in order to reveal the struggle and conflict rooted in oppressed individuals and groups.

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Pacific National Exhibition, Vancovuer, 2010

“Everywhere and All at Once” is a loop video projected on a 3’ x 4’ table. This video reveals four people, two males and two females, all wearing red nail polish and playing mahjong. The viewers are encouraged to sit on the chairs to experience the installation.

In this video installation, I am trying to blur gender boundaries through providing a communicating environment for viewers to experience new roles both in virtual and reality in a playful way. Because the viewers are encouraged to engage this piece by sitting on the chairs, they become extensions of this installation and the game players as well. However, the viewers might pause for a moment to think about which chairs they supposed to sit, which chairs they belong to, or which players they want to be. Nevertheless, no matter the viewers are males or females, (or perhaps we all have a little male or female inside), they all ultimately unite into the players in the video and become one.

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Pink Vagina


 

duration: 3 hours at  Access Gallery

I paint a room pink at Access Gallery and invite audiences to paint it white

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performed at SPREAD openning at Chapel Arts, June 3, 2011

duration: one and half an hour

photo by Chad Durnford

I stand against a white wall in a gallery space. There are two bags of rice with a description on the floor right in front of me. Audiences are encouraged to shoot my naked body with rice outside of yellow tape. This action will be repeated until the rice is gone.

After living inCanada for eight year, I realized that there is urgency for me to renew my lost tradition and culture. In the early 2010, I started to use rice to create a series of performances to explore oppositions as manifestations of fundamental existential concern in Chinese philosophy. “The Invalid Testimony” is the fifth one in the rice performance series. This series is not only a ritual meditation, but also an opening conversation, examining relationships between me and the place I live, between what I have lost and what I have gained as a racial minority. However, in “The Invalid Testimony,” I turn the ritual to a battle. The rice that has nurtured me in my whole life becomes a weapon to against myself.  It seems that the only way I regain what I have lost is through surrender.

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I am 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.

if you think it would be an interesting experience,

please contact me at

artistintheworld@hotmail.com


photo by Bernie Lee

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Sanford (Biff) Bartlett,    December 19, 2010

Jeff Ferguson, March 11, 2011

Michael Barry Anderson,  January 13, 2011

Toni Latour,   November 7, 2010   

Ruben Castelanco,    October 10, 2010  

Stephen DesRoches,   October 23, 2010   Gordon Scott,    November 20, 2010

 Brendan,  Feburary 27, 2011

 Charles K., March 6, 2011

Gary .D,   December 5, 2010

video is available upon request

 video by Sarah Hudson, Maksim Bentsianov, Karlo Melgarejo, Jerry Tai

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Visualieyez 2010 Performance Festival, Jubilee Audition, Edmonton, Alberta. september 18, 2010. video by  Heather Challoner.

I approach a man with a rose, asking him if I can ask him a question. If he agrees, I say “will you marry me?” right in front of his ear with very soft tone. After he says yes, I pin the rose on his chest, and offer myself to him for two minutes.

At Jubilee Audition in Edmonton on September 18th, 2010, I proposed to twenty-eight men in three hours. Three men rejected me; eight men accepted my proposal immediately; the rest of them were ultimately convinced after a longer or shorter explanation.

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photo by Ruth Skinner

from a 352 husband collection

I wear my Chinese traditional dress, walking on streets and asking white males to have photo taken with me by suggesting them to act as my husband– to explore intimacy between two strangers in public space. immigrated to Canada couple of  years ago, and i  regard the whole process of immigration as a marriage, and myself like a mail order bride. I married Canada, suddenly transforming myself from a Chinese to a Canadian or a Chinese Canada. My identity is not constructed by Canadian  history, culture or its landscape, but the white males who are around me.

The physical encounter between me and the white males actually is an ideological confrontation between me and the Western social and political landscape that I feel I don’t belong to. By exploring intimacy with them, I try to not only reconfigure the established centered power that the privileged white males embody, but also question whether the culturally interpreted Chinese female body, both as a foreign subject and object, can be invested and exploited.

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photo and video by James Zhang

This work  explores interactive wearable art.  three distance sensors are carefully embedded in flowers  on my dress. A lilypad arduino, a speaker, and batteries are  hidden on the back of the fan I hold . when the viewers use a boom microphone to closely examine the body to search signal, sharp sounds will occur.

The body is an interface. It is not only a site of intercultural encounter, but also a field of intersection of material and symbolic forces. This work doesn’t address much functionality but emotions, memory, fantasy and experience with awareness of body as intimate communicator and symbolic interface. It focuses more on viewers’ experiences: what is sensed, and what cognitive; and aesthetic processes are provoked during the interactive performance.

Silence is a sound that needs to be heard. Silence is meditation that needs to be read, a Ding, a sound to catch attention, a way of making things public, bringing light to shadow and stimulating public reflection and debate about the key issues of our time. Silence is also the intervention of crowd that needs to be seen. Silent doesn’t mean voiceless; if we don’t speak out, it doesn’t mean we don’t care.

Silent Participant is a term that I used to describe Asians living in the West who are often accused of having no opinions, of being indifferent to any politics, and of often sticking in their own ethnic groups. The silent participants are groups of visible minorities, often invisible but needing to be understood.

 

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I Want You to Want Me

photo by Phoebe Jin, video by Niv Ende

I built a portable cross and I wore it as part of my dress to walk in a gallery, bowed every seven steps. Finally I kissed the gallery wall.

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