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
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...
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
Initiators: Dimitri Chamblas & Sigrid Pawelke
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, 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
Photography, forthcoming in Matca Gallery, Hanoi, Vietnam