Asian Pears and Fish Skins City

Photography, online exhibited at The Greenpoint Gallery

Beyond Garden  A collaboration between Studio Dyan Jong, floorkids.studio, and Nick Gregg

 poetry by Carlina Duan, Jiaoyang Li, and JinJin Xu, LA Design Festival

Live art has been postponed indefinitely, so as creators, how do we adapt physical and social art experiences for the web? “Beyond Garden” is an immersive, online light installation that seeks to recreate the organic spatial spontaneity, proximity and connection of experiencing art together - within the confines of a browser. Companion AR filters allow participants to interact, document and share their encounters with the piece, as if they were “there”, by new definitions. “Beyond Garden” also explores how emerging technologies lend new “site-specific” characteristics and futures to a previously analog experiential light art practice, and how it extends our touch as creators beyond the LA community.

Noise Collector, in collaboration with Cynthia Ma, Will Warton

Exhibited at VR galleries Grooksgallery and Sadgrads2020

​​叶叶叶叶叶叶叶子为什么是绿的  in collaboration Jinjin Xu

Video performance in an online VR installation. Selected by Bond International Virtual Live Performance Festival 2020

Zoom, A Reclining Moon, part of the group exhibition Transfigure In/Between 2020

New York Live Arts Center

Digital Print on Fine Art Paper 

9 x12 in / 22.86 x 30.48 cm

 

I painted Zoom, A Reclining Moon on iPad during my quarantine, out of the nameless anxiety. When the nights smell like rotten plants in imminent danger, I find somehow, things are connected in a weird mixture of doom and hilariousness, just as ribbons taut on the metal hoops, bugs crawling like diamond bracelets. We are like spiders from every corner in the world, crushing together to be lit up by Zoom, this uncanny new moon. Connected in its comfy prison of grids and pixels for months that seem like forever, we are waiting to be carried over to somewhere unknown, to be transfigured by the mysterious indications hidden in our daily mundanity: Birds, placenta, cups, lava, cameras, watermelon seeds, virus, clover, thunderstorm...

疫情隔离期的夜晚闻着总像是快要腐烂的植物,它们的脸重叠着脸,神情难辨,它们的底部也盘根错结,似乎是在回环的厄运中将要起底某种狂热的生机。新闻越来越看不懂,而越是陌生的声音听着越熟悉,如橡皮绷带在金属环上滚落,也如远方的虫子一边行走一边羽化,停住时就变成了化石手链,戴在了我们自己的手上。而我们,来自世界各个角落的蜘蛛,爬到这Zoom的磷光下,安守这由网格和像素组成的互联网监狱,一个月,三个月,直到眼睛的闪光把ZOOM映射成了MOON,只能相信一切日常皆是往后的捕梦网:鸟,胎盘的纹路,升起的杯子,熔岩般的语言,身后的照相机,西瓜籽,病毒,三叶草,绿色的雷声...在iPad上涂抹了这幅《Zoom,倾斜月》,我希望记录那些疫情期间那些旁溢的,躺着的,难以直言的月份和月亮,并邀请朋友,认识的和不认识的,给我打Zoom电话,说一些他们从这个画里看到的东西,和他们自己有关的记忆,这像是一个共同冥想的过程。我会根据聊天的内容写一首诗然后连同画一起邮寄给他们,希望能在这个不容易的时期完成一些有温度的联结。

The Young Who disappear into birch, a video poem in collaboration with Jinjin Xu

Video-poem showed at The Tenderness Project, funded by Ross Gay and Shayla Lawson

 

Birch trees grow on the borderlands of China and Russia--the forests are romanticized in the Chinese imagination, and we grew up listening to songs and stories about the far reaches of our border. The performance is set to a song familiar to generations of Chinese people: "Birch Forest" sang by Pu Shu, adapted from an Ukrainian folk song telling a love story of a girl in the birch forest waiting for her boyfriend to return from war—the song hauntingly repeats "the young who disappear into birch." The skins of birch peel, revealing thousands of eyes vigilantly watching its surroundings. On Zoom, we sit amidst this forest of eyes—seen from multiple angles of our monitors—and yet, in this moment of isolation, perhaps we are also kept company by our multiple, digital selves.

In America, Why Leaves Are Green  in collaboration with Jinjin Xu 

 Funded by 2020 The Immigrant Artists Biennial 

“In America, You Are Asked Why Are Leaves Green?”  is a multi-media work comprised of a split-screen video and a live performance, embodying the paradoxical tensions central to our work as immigrant artists: With tongues silenced by our homeland, what can we say in America? What are we expected to say? How are we listened to yet misheard? How can we authentically tell our stories to an inherently foreign audience, and must we be consumed by the American gaze?

 

The split-screen video parallels the labor of Chinese factory workers and silkworms through a satiric reimagining of the Chinese mythology of The Silk-Worm Horse, in which a horse betrayed by its owner leads to the creation of the Silk Goddess. The horse—killed and stripped into horse skin by its owner—transforms into a mulberry leaf and wraps the owner’s daughter into a silkworm pupa. Amidst stuttering loops of laboring/insect bodies, our voices weave together and apart, self-consciously reflecting on our roles as artists whose work inevitably mythologizes our homeland. Modern myths are interrogated: the source of globalization is traced to the repetitious movements of female workers whose corporeal labor is likened to the physicality of silkworms.

 

Immigrant artists constantly betray their sources. “Only in the mother tongue one can express his own truth,” writes Paul Celan, “In foreign languages the poet lies.” ; Every word we utter in America, then, is betrayal. Yet, like silkworms consuming their leafy homes, we eat off American palms to gain a platform for our work.

In the live performance, we mirror each other uncannily as our bodies gradually merge as one. The slowness of our movement is entrenched in disgust, the unconscious, and moves from censorship to self-censorship, orientalization to self-orientalization. This precise, meditative, yet agitated performance traverses individual concern and awareness into a shared experience.     

Syzygy: A Site-Specific Anthropocene Adventure on the S-train

This is part of the Unlimted bodies performance funded by Performa Biennial.

Concept/Performing/Costume: Jiaoyang Li

Choreography/performing: Zhiwei Wu

Script/Sound art: Sufei Consuela Yang

Curator/producer:Charles Aubin

Initiators: Dimitri Chamblas & Sigrid Pawelke

Syzygy :

In astronomy, it is a collinear configuration of three celestial bodies

In philosophy, it is a term used by Carl Jung to mean a union of opposites

In poetry, it is the combination of two metrical feet into a single unit. 

Here in New York, we proposed an adventure on the S Shuttle train which constantly travels between 42nd street and Times Square station, with participants dressed in plastic accessories and each performed a certain plastic object. We intended to explore the relationship between human x Plastic x Earth in the age of Anthropocene: the earth is disoriented by the plastic made by the human, in the meantime, human's relationship and brain become plastic-like...

Meditations in An Emergency 

'Meditations in an Emergency', borrow the line from Frank O'Hara, is a multi-media collage series made by found objects, trying to sketch how Asian people lived through the time of pandemic, and the age of Trump. Partially exhibited by The Immigrant Biennial instagram.

The Selfedge You Can't Own (Are Especially Pretty) 

 This is a sequence of poems, photography, and installation, loosely based on thoughts about Clothes, Fashion and Beauty.  As Rilke wrote “Beauty is nothing but the dawn of terror we are just able to bear”, I am obsessed with thinking about how humans can not avoid being trapped by the beautiful clothing we live in, and sometimes for. 

 

Roland Barthes did a classification on clothes in his book The Fashion System.  He believes there are three kinds of garments in the world: Real garments, Image garments and Written garments. Surely the beautiful clothes we yearn for could be things other than real clothes: appearance, wealth, lore, and fame... And there are always clothes that cover things in a simplified way: gender, race, nationalities etc. But even when we try to explore and clarify these discourses, our speech and writing will become another piece of clothing, following certain ways of weaving or dressing...

Fishing for cherry blossom during quarantine 

online group exhibit 'Dot Dot Dash', represented by Surface Gallery.

This is an Attempt to Speak of Depression

Made by found materials and a line from E.D Atkins. Online exhibited at Artyard center, Everyday Humans Distinguished Medal project.

Apple's long. Wearable Theatre.

This is a line of poetry-inspired earrings or earring-form of poetry, check more at my Depop shop.

​叵CLIP

叵CLIP, founded by Sonja Bjelic, Cole Bjelic, and Jiaoyang Li, is an online magazine oriented toward experimental writing and art. We seek to make use of the internet as a space suited to inclusive discussion, international and unlikely collaboration and the publication of hybrid, process-based and non-hierarchical work.

I Promise to Enter the Oversized Hat

Video poem, exhibited at Milan Contemporary Art Center and A60 Art Space

The Re-opening

Photography, forthcoming in Matca Gallery, Hanoi, Vietnam

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