• Exhibition Dates: 2022.08.06 – 09.16
    Exhibition Location: Mocube, Beijing, china
    Exhibited Works: performances, Painting, videos, installations .
     
    Live performance
    45‘00“
     
    Video
    24'38", PAL, 1920 x 1080, 有声 sound, 彩色 color
     
    类型 Type
    剧场/单频道录像 Theatre / Single-channel video
     
    视频版本 Video File Version
    展览版本 Exhibition Copy
     
    系列 Series
    画廊剧场计划 Gallery-Theatre Project
     
     
     
     
     
    作品陈述
     

    “桂花寻去月轮移”,出处于唐代诗人李商隐诗词《一片》,如桂花之芬芳吐耀,如月亮明镜相照(艺术家母亲是农历8月桂花飘香之时出生),虽然时空交错,但这句诗词是历史的巧合也暗含了女性从古至今的命运。

     

    展览将以绘画为主线,围绕表演文本《给妈妈的二十首诗》展开,《给妈妈的二十首诗》来源于艺术家对于母亲和自己的记忆、联想,是二十首关于记忆表演学和对时间思考的表演诗歌。

     

    艺术家以一张旧画像为叙述的起点,作品内容借用大自然中的精灵和母亲充满伤痛的过往经历进行交叉糅合,以这样的方式作为诗歌主题的喻体联结了中国妇女的斗争与记忆。运用表演记录现实,记录并虚构华丽的布景,模糊迥异的人物和嘈杂纷乱的声音,在表演纪实美学、神秘主义、家庭剧场之间自由切换。作品描述了艺术家母亲在家庭关系中陷入的困境和矛盾(同母异父的舅舅将艺术家外公的唯一遗像焚毁),由此连带出家庭和母子永恒的爱与阴影,漫步游移在心理现实和物理现实之间。这种游移既是母子情感的变迁过程,是母亲和外公之间的无尽思念,同样也是当下中国历史的神话现场,它强烈实在且充满幻觉。

     

     

     

     
     
    Work Statement
     

     

    The title "Waxing and Waning of the Augustness" is inspired by the poem One Piece by Li Shangyin, a poet in the Tang Dynasty. Like the fragrance of sweet-scented osmanthus, like the moon shining in a mirror (the artist's mother was born in the eighth month of the lunar calendar, when osmanthus flowers were in blossom), although time and space are staggered, this poem is a historical coincidence and also implies the fate of women from ancient times to the present.

     

    Drawing, as the thread running through the exhibition, revolves around the script of the performance Twenty Poems for Mom, which originates from the artist's memory and association of his mother and himself, consisting of twenty performance poems with respect to performance studies that focus on memory, time and duration.

     

    The artist uses an old portrait as the starting point of the narrative. The work overlaps and combines the elves in nature and the mother's painful past experiences. In such a way, the theme of the poem, as a metaphor, connects the struggles and memories of Chinese women. Performance is used to record reality, reproduce or make up magnificent sceneries, blurring the characters and the chaotic voices, switching freely between performance documentary aesthetics, mysticism, and home theater. The work describes the dilemma of the artist's mother in the family relationship (the half-uncle burned the only portrait of the artist's grandfather), which brings out the eternal love and shadow of the family, mother and child, wandering between psychological reality and physical reality. This kind of wandering is not only the transition of the bond between the mother and the son, the endless longing between the mother and the grandfather, but also the mythological scene of the current era of China. It is strong and real, and full of illusions.