The Border

The Border_Chun Hua Catherine Dong_01The Border_Chun Hua Catherine Dong_02The Border_Chun Hua Catherine Dong_03The Border_Chun Hua Catherine Dong_04The Border_Chun Hua Catherine Dong_05

The Border_Chun Hua Catherine Dong_06_1Build a map of USA with plaster, cast my hands in, stay still, audiences are told to pee on the map when they come

” The Border,” Performance. 2 hours at ABC No Rio, New York,  as part of “The Embodiment Ball (Bearings), “curated by EstherR Neff   (photographs courtesy of artist)

Yellow Umbrella_Chun Hua Catherine Dong_Select Fair_07

Yellow Umbrella_Chun Hua Catherine Dong_Select Fair_09Yellow Umbrella_Chun Hua Catherine Dong_Select Fair_11Yellow Umbrella_Chun Hua Catherine Dong_Select Fair_01Yellow Umbrella_Chun Hua Catherine Dong_Select Fair_12

” Yellow Umbrella – An Unfinished Conversation,” 2015, Performance, two hours at Select Art Fair in New York, represented by Franklin Furnace, a work by Chun Hua Catherine Dong.

“The Yellow Umbrella—An Unfinished Conversation” is a performance that involves twelve performers engaging with yellow umbrellas. The umbrella is a symbol of protection and resistance. This performance seeks an intersection where aesthetics and politics ignite each other, exploring how symbolic and situational behaviors impact on our perception in regards to specific social movements and activism. It is relevant to open conversations about how to transform social and political landscapes through embodied gestures, examining relationships between the citizens and the place they live, between what they have lost and what they have gained in social political transformations.

Performed by Lean Aron, Marie Christine Katz, Hilary Brown, Julie Edwards, Ann Chiaverini, Jessica Cipriano, Kristin Draucker, Maria Sprowls, Mira Fister-Tadic,  Kim L Rouchdy, Mary Williamson, Liliana Argumedo







Exhibition Installation at Harcourt House Artist Run Centre, Edmonton, AB, Canada

August 6 – September 10

photo credit: Stacey Cann


Come Home







1. I place a handkerchief on floor, fill the handkerchief with a bowl of rice, and tie it to a rice ball.
2. I press the rice ball on my forehead and call my name to come home three times with my local dialect, and then replace it on floor.
3. Audiences are encouraged to participate. When one makes rice ball, one will be suggested call out one’s name to come home with one’s own language, take the rice ball to home, put it beside one’s pillow for three nights, and then cook the rice and eat it.

90 minutes at Songs For Presidents in New York, 2015, 100 handkerchiefs, 100 ribbons, 70 pounds rice, and a suitcase. ( curated by Frances Cooper, photo credit: Mark Hayes and Frances Cooper)







The Lost Twelve Years, 2015. Performance, 25 minutes at Rapid Pause International Performance Art Festival in Chicago

step 1. pinch my forehead until there is red dot appears

step 2. use a spoon to scratch my neck until there is red line appears
step 3. draw a pink circle on my tummy
step 4. spread paper with gold motif to audience
step 5. pour ink on my back from a tea pot
step 6. shoot myself with ink

photo credit: Tongyu Zhao.


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each time i travel to a new city, i take photo of myself lying in front of historical and tourist sites, coved by a silk corpse sheet.


Two beds face each other, one is covered with peanuts, another one is empty, I start to shuck peanuts and leave peanuts’ shell on the empty bed . When audiences come, they are invited to shuck peanuts with me, eat peanuts seeds while leaving peanuts shells on the bed. Peanuts can be taken to home, but shells must be left on the bed. Audiences participate both in my presence and absence.

performed eight hours at Hamilton Artist Inc,. in Hamilton, Canada

photo credit: Caitlin Sutherland


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