Posts Tagged ‘identity’

RedBaby_0358_wo RedBaby_0660_wo RedBaby_0078RedBaby_0340_wo
photo by Dayna Danger, performed by Wing Sze Tsang-Hy, Peter Meritzis
i painted myself red and engaged with hired parents a day as their Child.

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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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photo by Bitshere, at Nomad Art Gallery

i carry a bag with rice, walking in a gallery and approaching an audience to have a conversation. when the conversation starts, the rice leaks from my bag. when the conversation is over, the rice stops leaking. And then i move to another audience, the action repeats.

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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


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 Jame Zhang

perform at Visualieyez 2010 Performance Festival at Latitude 53  and 221 A Artist Run Centre

I set two 14 inch bowls, two pairs of small brushes, and tweezers on a table. I begin painting white rice with black ink one by one until the amount of black rice equals the amount of white rice. The audiences are invited to sit down in front of me, and we work together.

“Hourglass” is a rice-based performance that examines “deterritorialization” and “disessentialization” in the Taken-for-Granted world through exploring oppositions as manifestations of fundamental existential concern in Chinese philosophy. The action of constantly painting white rice to black is a metaphor of hourglass. Sand in hourglass cannot flow without rotation as if power cannot shift without struggle. Too much power is concentrated on one side seems to be a main factor causing disharmony, confusion and dislocation, which embody on the social turbulence that we see and feel in our daily lives. In fact, power doesn’t bring growth unless we understand the essence of sharing the power.

The gesture of painting white rice to black is a political gesture, a democratic process of negotiations between citizens and established power. It reveals my desire not only to negotiate and transform everyday political life to art, but also to install a model for social transformation that possibly could create a new way to look at utopia and future. For me, political gesture doesn’t have to be radical, and process of social transformation does not have to involve violence.  In fact, it could be done through meditative way or even meditation because meditation itself is intervention: a method of protest, a strategy of negotiation and a way of speak-out. This performance is more relevant to open conversation about how to transform social and political landscapes, examining relationships between the citizens and the place they live, between what they have lost and what they have gained in the rapid changing city. This rice performance provides an opportunity for participants/ citizens to meditate their situations while working together on a mutual goal: reconfigure the established centralized power system in order to create an equal, fair and balanced world.

A scientist did a math, there are about 333,000ps grains in the bowl, it takes 20 seconds to paint a grain. As a result, if two people together paint 24 hours/ day, it needs 500 hours to paint half amount of white rice to black.

Hourglass Firgure


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it was performed at Slivers, Shivers, and Snake Skin- A Happening,Chapel Arts  2010

I fill a bamboo basket with white and black rice, so there is white rice on the left, black rice on the right. I sit on a bamboo mat,  grapping rice and tossing it to audiences.

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