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“The Yellow Umbrella—An Unfinished Conversation” is a performance that involves twelve performers engaging with yellow umbrellas. In this work, the performers all wear white surgical masks and grey dresses. They stand in a row, repeating ten gestures. They hold each gesture for two minutes and then move to the next one in a sequence.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.

This performance was performed at  MAI (Montréal, arts interculturels), Montreal, Canada on Feb 7, 2015 Performed by: Zoe Bacchus, Kelsey Duffy, Bailey Eng, Alida Esmail, Maggy Flynn, Lucy Fandel, Brittney Gering, Olivia. Faye Lathuilliere, Natalie Montalvo, Kim L. Rouchdy, Mira Fister-Tadic, Mary Williamson.

Photo credit: Laurence Poirier


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This exhibition at MAI (Montréal, arts interculturels) consists 12 pieces of 40’’x50’’performance-based photographs titled “To Rebel is Justified” and a video documentation of a live performance, “ The Yellow Umbrella – An Unfinished Conversation.”

photo credit: Paul Litherland

 

372_0085 372_0092-1 372_0066-1The Colour of My Hair and Face investigates the symbolic and cultural dimensions of colors, yellow (skin) and black (hair) as connoting “Asian identity.” I explore stereotype, masking and self-identity abstractly and literally by inviting the public to engage in self-transformation and discussion. I started this project by having an open call for participants by offering two serves: (1) Hair and makeup makeovers: participants have their hair dyed permanently black and straightened, and receive a yellow-tinted make-up application. (2) Photographic services: participants pose for a portrait before and after transformation.In documenting the entire process, I also asked people questions probing their own self-identity and affective feelings before and after the makeover.


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

Setting: there is a Chinese traditional painting on floor in an empty space, a tea pot on the right, a water gun on the left. i stand on the Painting, facing audiences and holding a bowl of water.

1. i slowly turn my head to right, slightly bend,  pinching my forehead between my eyebrows with water untill there is a dark red dot appears.

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

3. i pick a porcelain spoon in the bowl and scratch my neck firmly with rhythms until a dark red line appears from my lower chin to upper chest.

4. i replace the teapot with the bowl, i carefully lift the teapot and posit it on my head. i turn my back, slowing fixing my hair while lowing the teapot to my neck, and then i start to pour ink from the teapot to my arched back to create a line. After the ink was gone, i straighten my back and stand still,  I suddenly shake my head; the teapot smashes to pieces.

5. I turn my body back to face audiences again, knee on the painting, lift the water gun. i  point to my head and shoot, and then i point to my heart and shoot. at the beginning, the shooting is gentle and slow, and then it become faster and faster. the action of shooting my head and heart are repeated 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

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