Feeds:
Posts
Comments

Posts Tagged ‘multiculturalism’

Chun Hua Catherine Dong painted her body red and wore diaper, living with strangers hired from Craigslist in a red room as their child. Chun Hua Catherine Dong is laying on the floor like a hopeless babyChun Hua Catherine Dong painted her body red and wore diaper, living with strangers hired from Craigslist in a red room as their child. Chun Hua Catherine Dong is sitting on her parents' back like a ghost childChun Hua Catherine Dong painted her body red and wore diaper, living with strangers hired from Craigslist in a red room as their child. Chun Hua Catherine Dong is sitting on her father's lap like a giant unhappy babyChun Hua Catherine Dong painted her body red and wore diaper, living with strangers hired from Craigslist in a red room as their child. Chun Hua Catherine Dong is fed by her fatherRed-Baby-Chun-Hua-Catherine-Dong-06Red-Baby-Chun-Hua-Catherine-Dong-01Chun Hua Catherine Dong painted her body red and wore diaper, living with strangers hired from Craigslist in a red room as their child. the red baby is having bedtime story

Red Baby consists of 30 staged photographs depicting a family of mixed race parents and a child. I painted my body red, wearing a diaper and fake mouthpiece, and I lived with strangers hired from Craigslist for eight hours in a red room, as their child. They were asked to feed me, play with me, pamper and take care of me. In this work, the “red baby” is a symbol for contemporary China, caught between east and west. The baby, symbolic of both communist and capitalist influences, is also a future model for social transformation, imagining a new utopia.

photo by Dayna Danger, performed by Wing Sze Tsang-Hy, Peter Meritzis

Advertisements

Read Full Post »

 

 Chun Hua Catherine Dong writes letters to museums to express her willingness of donating her body to museums' collectionsChun Hua Catherine Dong writes letters to museums to express her willingness of donating her body to museums' collections. the letter includes a picture of her standing on a plinthChun Hua Catherine Dong writes letters to museums to express her willingness of donating her body to museums' collections, she has sent hundreds and hundreds lettersChun Hua Catherine Dong writes letters to museums to express her willingness of donating her body to museums' collections, and she received lots of reject letters

Text about this project will be coming soon

Read Full Post »

Chun Hua Catherine Dong asks strangers on streets to be her husbands for a minute, this man wearing green T-Shirt is one of her one-minute husbandsChun Hua Catherine Dong asks strangers on streets to be her husbands for a minute. She and her one-minute husband take photo together to capture their special moment

Chun Hua Catherine Dong asks strangers on streets to be her husbands for a minute. They took a picture together, sh and her one-minute husband are like a real coupleChun Hua Catherine Dong asks strangers on streets to be her husbands for a minute. She and her one-minute husband take photo together to capture their special momentChun Hua Catherine Dong asks strangers on streets to be her husbands for a minute. She and her one-minute husband take photo together to capture their special momentChun Hua Catherine Dong asks strangers on streets to be her husbands for a minute. They took a picture together, sh and her one-minute husband are like a real couple and lover

from a 325 husband collection

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.

I emigrated from China to Canada eight years ago. I regard the whole process of immigration as a marriage, and myself is like a mail order bride. I married Canada that I had never seen before, suddenly transforming myself from a Chinese to a Chinese Canadian or Canadian. My identity is not constructed by Canadian history, its culture or its beautiful landscapes, but the white males who are beside 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. The process looking for a white man is a process of looking for home. However, unfortunately, the home is temporary and the relationship is ephemeral. Nevertheless, by exploring intimacy with them, I try to not only reconfigure the established centred 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, most importantly, question whether the concept of the borders still exists although physical borderline is crossed.

photo credit: Ruth Skinner

 

Read Full Post »

Chun Hua Catherine Dong sits on a mat, her sieve is filled with black and white rice like a Yin and Yang symbol, she throws rice to audiencesChun Hua Catherine Dong grabs a handful black rice, she is ready to throw them to audiences in Vancouver Chun Hua Catherine Dong closes her eyes and gently touches  the black and white rice in front of her, she is ready to perform her rice performanceChun Hua Catherine Dong grabs a handful rice and throws it to audiences, the audiences can feel the gentle touch of the riceChun Hua Catherine Dong sits in front of a sieve that is filled with black and white rice, she grabs the rice and starts to meditate her situation

it was performed at Chapel Arts and Emily Carr University in 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.

photo credit: Alina Ilyasova

Read Full Post »

Chun Hua Catherine Dong selects black rice from white rice for hours in a galleryChun Hua Catherine Dong sits on a bamboo mat and picks rice one after one as a meditation, it is infinite taskChun Hua Catherine Dong meditates her rice for hours, reflecting her own ideology about raceChun Hua Catherine Dong screens out small rice and picks up rice that doesn't fit our political systemChun Hua Catherine Dong repeats selecting rice over and over again in her performance

 

performed at PAct 4: Trade opening at  Vancouver International Centre for contemporary Asian Art and Pacific Cinematheque, 2010

I sit on a bamboo matt and demonstrate a process of selecting rice: I lift a sieve and gently shake it to screen out the smaller rice, and then I put the sieve on the matt and pick out the imperfections. the gestures of shaking the sieve and picking the rice are repeated hours.

Read Full Post »

Another-Size-Already-Known-Chun-Hua-Catherine-Dong-Installation

Another-Size-Already-Known-Chun-Hua-Catherine-Dong-Red-PoemsAnother-Size-Already-Known-Chun-Hua-Catherine-Dong-Audience

20 minutes at Emily Carr University, Vancouver, Canada

I hang up 40 pieces of black chairs on the ceiling and stack tables in a room, I stand on a table, hanging my hair on ceiling with a rope. I tear a book one page after another while i am reading it. the audiences are encouraged to pick up pages that I throw on the floor, and read aloud with me.

Multiculturalism as an ideology or strategy consists of a relatively coherent set of ideas and ideals that emphasize the celebration of cultural diversity. Tolerance is a central idea of the state ideology of multiculturalism. However, the concept of tolerance is contradictory to multiculturalism. According to Collins Cobuild English Dictionary, tolerance is “the quality of allowing other people to say and do as they like, even if you do not agree or approve of it.” Tolerance is also “the ability to bear something painful or unpleasant” (1762). However, this emphasis on tolerance in the multicultural content both politically and ideologically, implies positions of superiority and inferiority because it divides people to two polarized groups: the tolerating and the tolerated. We tolerate because we disapprove; we tolerate because “they” are different. And thus, the acceptance by the dominant culture is dependent on the good will, forbearance, and benevolence of those who do the tolerating. Indeed, the dominant culture is not only seen as the guardian of the social order, but also as tolerating others . As a result, the relationship between dominated and dominant cultures is a racialized relationship. And multiculturalism as a concept provides little challenge to racist status quo because a ceiling of tolerance is built.

Chairs are a symbol of welcome, but by hanging them on the ceiling, they lose their symbolic meaning and become unwelcoming and threatening substances. In addition, desks, originally functioning as a device bringing us together in order to communicate or negotiate, however, by stacking them up, they lose their functionality. It seems that the dominant culture is generous and benevolent by offering the welcome chairs to the dominated cultures. However, these welcome chairs are not located on the ground but on the ceiling. And thus, it creates a dangerous situation threatening the new immigrants who seek shelter in this multicultural society. In fact, the ceiling of tolerance is a ceiling of danger. When the ceiling of tolerance is built, it is hard to escape.  By inviting audiences to come under the chairs and experience the danger of tolerance with me, I try to raise\ awareness about racial minorities’ living conditions.

photo by ماريا  Hechanova

Read Full Post »