Performance Art
軀 Second Skin
Year : 2022
Performance running time: 30 mins
Materials: Fabric, Aqueous cream
Photo by Maximillian Cheng
Hosted by Body Canva 2.0 The Lingering Parts experimental showcase at HART Haus.
Waking, knowing. And the skin is light too and huge. Humble, neutral, but got a symbol imprint.
“軀 Second Skin” 用潤膚膏及布作為皮膚的延伸，為王穎琳作為長期濕疹病患者回應自己身體的演出。微觀身軀的自然流動和自主掙扎，謙卑、自然、然而符號印定。
https://youtu.be/Gz6eWeRiHos?si=wqg4MESqoDWd24Jc
Link 對話 (2022)
Performance running time: 5 hour
Duo performance with Kenneth CHOI Ho Ming
Materials: Canva, Needle, Yarn, Twine, Fish Wire, Iron Wire
Photographer: Au Tze Long
As part of Per.Platform Performance Art Festival #3 ‘Fluidity and Impermanence’ X Tomorrow Maybe
Communication is like the flow of lines, and dialogue is like a long, continuous, co-woven picture, with different interpretations and meanings for each party. The lines become a stumbling block, and each weave, each decision to respond, leave a trajectory in each person’s mind, body and thoughts, changing the shape and decision of each individual.
人的交流似線的流動, 對話就似一個漫長、延續、共同編織的圖畫, 於雙方的理解和意義不盡相同。線成為牽絆, 每次編織、回應的決定都在每人的身心和思考留下軌跡, 改變每個獨立個體的形態和決定。
(Dis)Integration(2022)
Video running time: 4 minutes 51 seconds
Color / Sound
Videographer: Elon Lau
Editor: Vivian Wong
Screening and Exhibition
– Mist Gallery Pop-up Online Group Showcase 《Storiesss 限時動動動態》) (2022)
– Miami Art Society, US“Video Flux: performance in video art”(2024)
Inspired by Cesaire and Fanon’s writings which deeply criticized the violence of colonization, as well as the triggered by the destruction of humanity and civilization from the current global political situation, (Dis) Integration is a performance response to the colonization thinking, and the ambitious possessive intension behind it via erasing others. Violence, destruction, extraordinary possibilities trampled on, and societies drained of their essence. What counts as valuable, and what doesn’t? What will be wiped out, and what will be re-constructed?
The performance experiments how breaking and fixing repetitively would change one’s original essence, and what it takes to go through this process of trial and error. The cyclical processes of this performative experiment speak to the resilience and adaptability of the human spirit in the face of devastating challenges, and reflect on the capacity for individual and collective regeneration in the aftermath of oppression.
暴力、破壞、被踐踏的可能性和社會本質。甚麼才算有價值？我們在失去甚麼、摧毀後又能建設甚麼？
〈宣言不以言先行〉
Year : 2024
Performance running time: 2.5 hour
Photographer: Ching Yuan Wang
As part of 《虛室・旱地行舟》Void Chamber・Sailing through Drought Lands
At 台北嘉禾新村
我們從最小的地方穿過，在最窄長的地方展開飛翔，
你成為我的刺青，我成為你穿到牆外之枝葉。
我們想像，消散有時相聚有時，你要活着——我們無所不在。
觀後感想 by TsuLiGue 阿潤
《虛室・旱地行舟》行為藝術／11月20日風雨無阻，於嘉禾新村演出。
Silver Lennon
Year : 2024
Performance running time: 2 hour
Materials: Video projection, aluminum foil
Photographer: Man ho Tam
As part of Invisible Cities exhibition at Floating Projects
銀色熠熠反光, 同一空間中不同的記憶潛藏在城市的痕跡裏；
我們互相見證摺皺和耗損, 時間或悄然或喧譁地流逝。
Dandelions are meant to fly (2023)
At Galeria Kub(Germany) during Performance Art Studies 82;
Photo by Monika Deimling..
To those who choose to leave, who struggle to stay and explore the unknow, the performance echoe to the immigration wave and related struggle in Hong Kong, conveying the struggle and complexity of sending loved ones away while hoping for their happiness in future possibilities.
Letting go is sometimes damaging and violent, but it could also be light, beautiful, and joyful. Dandelion is meant to fly, and I pray for your happiness afar.
野餐Picnic (2024)
Performance running time: 10 hours, continuing
Materials: Needle and thread
Photo by 周泰全
As part of 不存在劇場- 阿索比不存在劇場遊牧計畫
既然異地無家, 不如織一塊野餐墊出來, 人來人往, 隨時加入、逗留或離開。
坐得下一人兩人或更多, 而我們共同渡過的時間才是最珍貴的。
With the wind (2023)
At Galeria Kub(Germany) during Performance Art Studies 82;
Photo by Monika Deimling.
Imitate the freedom from my childhood memories, and reanact it in a place afar by bring the sense of wind into a static indoor hall. Freedom is to create, to bring the non-existences come to life.
Full Performance statement and movement description in the artist’s Youtube.
https://www.youtube.com/watch?v=_dDNQo7yZ8c
Appropriate Distance 適當距離
Year : 2023
Performance running time: 3 hour
Duo performance with Jing PANG
Materials: Canva, Needle, Yarn, Twine, Fish Wire, Iron Wire
Photographer: Chan Ting, Florence Lam
Videographer: Herman Tong
Space Credit: BASE
We try to concentrate our relationship with each other in the behavioral scene, and at the same time, we respond to our thoughts and feelings about the distance between each other in real time, and start an experiment of relationship and connection. In a limited time, we try to reach a consensus on how close I should be to you, how direct my invitation should be, how clear my refusal should be, and what should be our distance?
我們嘗試將和彼此的相處濃縮在行為現場中, 同時即時地反應對彼此距離的思考和感受, 展開一場有關關係和連結的實驗。在有限的時間裡嘗試達成共識, 我應該多靠近你, 情感要多直接炙熱, 拒絕要多明確冷漠, 我們的距離應該是多少?
On The Same Road (2023)
Performance running time: 4 hour
Duo performance with Grace WONG
Materials: Sand Bag, white chrysanthemum on water
Videographer: Herman Tong, Elon Lau
We started from different places that meant special to us as a part of the same huge mass, carrying what we care on the Nathan road. We failed to meet at the planned point. We waited, we searched, we disappointed. We meet, accompany and exchange the weight of what we are carrying. And then we walked to the unknown ending together.
在彌敦道馬路對面走一段路, 在紅綠燈交匯時交換手中的重量。街道在城市裡展開, 承載着積年累月的未曾寫入歷史的時間。如何斷定是一起還是獨自走過同一條路, 又如何經歷和理解同一段路? 當可以分擔肩負的重量和守護的物品時, 路上的記憶又會如何流動?
不同起點、不同風景、不同記憶與路程;
漫長的等待和錯過。
各自繼續路程, 尋找; 等待; 回來。
相遇丶分擔、再遇見丶重覆。
相融。
米Rice (2023)
Duo performance with Choi Yat Ming
黑犬齒 透明盒子：哈哈 at Current Plans
Photo by Ho
Exploring the boundaries and tug-of-war of relationships, by drawing chalk to delineate territory, we arrange and organise our own chores. How do we maintain our own specific arrangement during the confrontation ? How shall we separate the space between the two of us by our obsessive and careful organisation? Is it possible and necessary?
探討關係的邊界和拉鋸, 畫上粉筆劃分領域, 我們如何排列和整理自己的生活瑣事, 又如何對對方的行動產生好奇? 瑣碎而難以量化的米如何一發不可收拾, 侵入丶干擾、玩樂的界線逐漸模糊。如何保持自己具體的排列方式和執著仔細的整理中, 分別二人的空間 ? 是否可能、有何需要?
Forward (2023)
Performance running time: 30 mins
Materials: Woods and ropes
Documentation by Ma Wik, D, Ken Fu
Painting by Wong Sin
Hosted by blackcaninetooth 黑犬齒:帶火者 上山來
From the wet circle of grass and mud, feet tied to heavy wood, through the darkness of the reservoir tunnels, twine left in the path of walking, the sound of wood and body movement and fall on the ground in the tunnel echo, echo, only the naked eye can witness the course of action.
Fleeting flashes of light and faint wall lights illuminate the encounters between spray paint and wood, frescoes and running water in the tunnel, and the trajectory of stepping forward continues to stretch and extend in the darkness. When I reached the end of the tunnel, in the moonlight, I stood on a log, lit a candle, and threaded a hemp rope through the tunnel from end to end.
The next day, it rained heavily and the sewers were flooded, but the logs at the end of the tunnel remained standing in the rain. The water rushes through the tunnel, picking up more rainwater as it pours down, and continues on until it reaches the far end of the tunnel.
從濕潤的一圈圈的草泥地, 腳綁上沉重的木頭, 穿越黑暗的水庫隧道, 麻繩一節一節留在走過的路上, 木頭和身體移動和跌落在地面的聲音在隧道裏迴響、迴響, 只有肉眼才可以見證行動的過程。一瞬的閃光燈和微弱的牆燈照亮了在隧道裏噴漆和木頭、壁畫和流水的相遇, 前進的軌跡在黑暗中繼續延伸、延伸。平行的水庫隧道裏有蝙蝠, 有石頭的聲音, 有錫紙和物件, 有交通警示燈和赤裸的身體, 像是在平行空間的集體儀式, 生命在各自處理自己的題目。到達隧道盡頭開闊的月光裡, 佇起木頭, 點上一支蠟燭, 麻繩由頭至尾穿過隧道。
第二日, 大雨, 下水道浸水, 隧道盡頭的木頭在雨中佇立依然。流水冲刷過隧道, 儲起更多傾盆落下的雨水, 繼續往前, 直到遠方的遠方。
Performance Video:
https://www.instagram.com/p/C6a9Txiv877/
Forward 2 (2024)
Equinox – same but different / 秋分2024
Performance running time: 1 hour
Materials: Needle and thread
Documentation by Ho Lee
針拉住棉線穿過鐵絲網, 從白衣拉出絲, 將自己縫在鐵絲網上, 我用身體的力量拉扯身上的針和絲, 在線不被扯斷的前提下往橋的另一個盡頭進發。記下絲被扯斷的終點。
–
“雨天, 從黃昏至天黑, 白衣, 白線, 粗針。倩在路上讀詩, 海怡在隧道中執拾果子, 雨水一直沖刷橋、馬路、我們, 到達海面。我來回起點, 將線穿進鐵絲網, 拉長直至不能再扯動, 回頭, 調整, 再拉長。線在雨水中變得柔韌, 皮膚變得易破, 在拉扯的過程中線不知不覺深深陷進手指的皮肉中。
原來柔韌的線可以鋒利至此。距離將線越拉越緊，我以背對目的地的方式前進, 重心和身體懸掛在空置的後方，希望在線不被扯斷的前提下盡量前進……”
Equinox – same but different / 秋分2024
春/秋分是爭取所有人自由的國際公共行動日。每年兩次（約 3 月 20 日和 9 月 22 日）的春分日，全世界的晝夜長度大致相同。在這種宇宙平等的精神下，在公共空間一起行動l莫的人們之間產生了一種全球性的聯繫。
這種共享的時空成為了臨時及全球性的社區，令我們更緊密地聯繫在一起，鼓勵通過行為藝術為當地特定的狀況作非暴力的表達。歡迎任何人士以開放和團結的態度參與、擁抱和體現多樣性，同時認知彼此特有的情況、苦困和矛盾。
The forbidden sculpture
Year : 2022
Performance running time: 4.5 hours
Materials: Canva, standnews newspapers, paint, acrylic, ink, brush set
Location: The podium of the Haking Wong Building at the University of Hong Kong
A sketch of the Pillar of Shame after it was removed without any official announcement.
Pearl (2023)
Performance running time: 36 mins
Performance Assisted by Ken Fu
Photographer: Lee Ka Ho
As part of Black Canine Tooth: Transparent Box 2
at Current Plans
承接影像裝置The Apocalypse is Your Oyster的典故, 後來, 這句話被用在電影《內特的夢想劇院》片尾曲中, 廣泛地用作鼓勵他人盡情地在世界上發揮自己, 追尋自己的夢想： “The world is your oyster and we are the pearls”。
當有沙粒或寄生生物等外來微粒進入牡蠣、蛤蚌和貽貝的軟體後，當防線被破壞後，這些生物體便會將入侵者包裹在珍珠質裏，作為傷口縫合分泌到傷口處，便會形成珍珠。由於珍珠廣受人們喜愛，極具經濟價值，所以催生了有著數千年歷史的珍珠捕撈業。養殖戶會將圓形珠子塞進貝殼動物的軟體內，將其作為種子來人工增加珍珠產量。 大顆粒的珍珠形成對於該動物來說很可能是致命的。為什麼通過痛苦而去生產的一件事物, 會成為另一個物種販售的商品, 甚至人工去製造這種痛苦？如果真正地享受這種痛苦生出來的產物, 應該是由生產和承受過程的群體去轉化它, 而不是另一個施暴的群體去消費和搶奪話語權。
2023年6月4號在影像裝置旁邊我們做了一個名為《Pearl 珍珠》的演出。在Pearl的演出中, 我點燃了白色蠟燭後,Ken用鐵鏈綑起不斷吹脹珍珠色的氣球的我, 並在白布上繪畫出一片璀璨的汪洋。我在用力吹脹氣球的同時發出四個短音, Ken 不斷用力拉扯鐵鏈, 白布上的白色蠟燭一直燃燒。後來我被扯至地上, 鐵鏈亦因為身體的轉動掙扎鬆開,
直至一個氣球觸碰到白色蠟燭, 火光驟然變成黑煙。我將一顆最大的氣球帶離畫布, 和現場的觀眾拋接氣球, 最後一起用身體承托氣球。Ken 留在原地和鐵鏈纏繞掙扎, 獨自留在自己創造的繁華世界中。
Group Performance
Currently Still Planning to Perform
Year: 2023
Running Time: 4 hours
Venue: Current Plans
Host by STILLLIVE, CURRENT PLANS, Per.Platform
More than 15 artists from the past 4 editions of Per.Platform, @pengpeng.temple (Per.Platform’s medical officer), and Stilllive performance platform founder and current resident artist at @mill6chat @yukikobayashi0226 will come together using a method that Stilllive and Per.Platform tries to collaborate together, to create a group performance looking into the changes Sham Shui Po has been facing in recent years. It is also a heartfelt tribute to Current Plansʼ contribution in building the vibrant Sham Shui Po art community and the larger art scene in the city. Since its foundation, Current Plans has created numerous experimental and ground-breaking exhibitions and a dear supporter of Per.Platform since the beginning.
The concept of this group performance surrounds themes of liminal time/space, eviction/escapism, body in relation to the spaces of capital world, relating it with the versatility of performance art and itʼs timely nature, offering blessings to the future paths of Current Plans as it moves to the next step.
Full Group performance statement and participate artists:
https://www.instagram.com/p/CztkZCUvtCx/?utm_source=ig_web_copy_link
Video Documentation by Honey & Reflection by Vivian Wong
https://www.instagram.com/p/C2-dsVGviSt/
Negative Space Group Performance
Year: 2022
Running Time: 4 hours
Venue and host: Negative Space
“我提出「不觸碰的觸碰」的時候，我想是基於現象學的進路開展———一場正在經驗的旅途。在概念建構之前、在讓光透進來之前，人事物自身是怎樣的觸碰？也許看起來難以描述：看不清摸不著的、未定的、流變的、在存在與虛無之間的……一種狀態：既一無所說又不斷訴說…一種情況：總是出現又消失，出現又消失…顯現著甚麼東西？藝術家們如何創造連結？行為當中有著怎樣的觸碰？觀眾處身於場域中有著怎麼樣經驗的獲得？”
— 陳庭
Full Group performance statement and participate artists:
https://www.instagram.com/p/CjQVfWzPcXC/?img_index=1
Video Documentation filmed by Issac Chill Yong, edited by Chan Ting
https://vimeo.com/777638902
Reflection by Vivian Wong
https://www.instagram.com/p/CmTff2fB5Kr/?img_index=1
Pacing Pulse
Year: 2022
Running Time: 2.5 hours
Venue: EJAR • RAGORA
Hosted by STILLLIVE, EJAR, Per.Platform
Per.Platform is thrilled to present a group improvisation in collaboration with Stilllive and EJAR • RAGORA on 28 August, 2022. Eight performance artists – Yuki Kobayashi (founder of Stilllive), Kenneth Choi Yat Ming, Jing Pang, Florence Lam, Liz Pong, Towako Sano (participant of Stilllive), Vivian Wong Wing Lam and Kelvin Yiu – will join members of EJAR・RAGORA – Dino Rib, Ho Julvian, Shek Po Kwan – to spontaneous perform in a shared space using different materials such as their own bodies, sound and objects. The event format is inspired by Stillllive Performance Art Platform in Japan, and it will begin with a warm-up and exchange session for the participating artists. Starting from 17.30 the event will be opened to the public, audience is also invited to join the sharing and discussion sessions
Group performance statement and participate artists:
https://www.instagram.com/p/ChrGjqCvjYv/
Video Documentation by Heiwa Wong @heiwawong
https://vimeo.com/744468903/cc67891002
流動與無常 Fluidity and Impermanence Performance Festival- Group Improvisation
Year: 2023
Running Time: 5 hours
Venue: Tommorow Maybe
Host by Per.Platform x Tommorow Maybe
這個5小時的集體即興行為，是2022年4月由Per.Platform聯合創辦人Florence Lam帶領的「傾斜與對準」行為藝術工作坊的成果。該手法的靈感來自由黑市國際（自1985年以來一直活躍的國際行為藝術家團體）提出的 “Art of Encounter” 的一種創作理念。是次集體即興行為的參與藝術家來自廣泛的背景，包括視覺藝術、舞蹈、戲劇、影像製作和音樂。集體行為由上述八位藝術家開始，到時段後半，會場開放給其他藝術節藝術家自由加入。
This 5 hour group improvised performance is a result of “Tilt and Level” Performance Art Workshop led by co-founder of Per.Platform, Florence Lam, in April 2022. The method is inspired by the idea of “Art of Encounter”, developed by Black Market International, an international performance artist collective that has been active since 1985. Artists from a wide range of backgrounds including visual art, dance, theatre, filmmaking and music. The performance will start with 8 artists mentioned above, and in the second half of the session, the floor was opened for other festival artists to join in freely.
Particpating Artist: 陳卓甄 Glo CHAN, 陳熙鏞 Xiyong CHAN, 蔡逸明 Kenneth CHOI Yat Ming, 劉海浩 Jimmy LAU Hoi Ho, 彭靖 Jing PANG , 黃姬雪 Ice WONG Kei Suet, 王穎琳 Vivian WONG Wing Lam , 楊小芳 Siu Fong YEUNG
後半加入藝術家 Artists joining later：小林勇輝 Yuki KOBAYASHI, 佐野桃和子 Towako SANO, 嚴穎嘉 Monique YIM, 廖家明 LIAO Jiaming, 龐莉 Liz PONG, Florence LAM
Full Group performance statement :
https://www.instagram.com/p/Ci1oL0jvven/?img_index=9
Photography by Tze Long
《傾斜與對準》”Tilt and Level” Performance Art Workshop
Year: 2022
Running Time: 5 hours
Venue: 1930
Host by Florence Lam
“Tilt and Level” performance art workshop is led by performance artist Florence Lam in April, 2022 in Hong Kong, exploring tasks and exercises developed by Florence Lam with 8 participants coming from different creative backgrounds.
“Performance art is a unique artistic medium in contemporary art. The artist’s body is a combination of his or her own experiences, identity and history, while the performative artist himself or herself is the vehicle for the work, and sometimes even the work of art itself. In order to work on an artwork, one must first work on one’s own personality and human qualities, for these qualities, through the energy and aura that emanates from a person, directly influence the foundation on which the work is built. As human beings are social creatures, effective performance works can connect with the audience on a language-defying and biological level, thus creating a model of ‘group improvisation’, where artworks and artworks communicate, reflect, have dialogues and produce chemistry through the artists themselves. Even though the artistic language of each performance artist is different, the present communication is driven by the purest honesty, respect and acceptance of the openness of humanity, creating a variety of performative images with human beings as the starting point.”
Particpating Artist: 陳卓甄 Glo CHAN, 陳熙鏞 Xiyong CHAN, 蔡逸明 Kenneth CHOI Yat Ming, 劉海浩 Jimmy LAU Hoi Ho, 彭靖 Jing PANG , 黃姬雪 Ice WONG Kei Suet, 王穎琳 Vivian WONG Wing Lam , 楊小芳 Siu Fong YEUNG
Photography by Tze Long
Participated Performance
むせかえる世界/ A Sultry World (1995-)
Sunayama Norico
CHAT in partnership with Art Central,Hong Kong
27-31.03.2024
A celebrated work of contemporary art, Sunayama Norico’s A Sultry World made its debut in 1995 at John Cage’s Rolywholyover A Circus exhibition at the Art Tower Mito in Japan. Having been staged at major venues in North America, Europe, and Asia over the past thirty years, this captivating performance has garnered international acclaim and continues to enthral audiences today as much as ever.
Visitors are invited to be part of the performance by entering the protective, intimate space beneath the giant scarlet skirt, which has been infused with the calming scent of lavender. This experience requires trust between the participant and performer while providing a moment of quietude for guests.
The garment’s scarlet hue holds symbolic significance, representing both power and love, as well as redemption, sacrifice, and sin. By blurring the boundaries between public and personal space, Sunayama’s work seeks to bring calm to conflicts and violence that arise from human desire, ethics, and social norms.
The Artist Statement of Norico:
https://www.artbasel.com/hong-kong/encounters2023/mella-jaarsma
The Constructor (2008-2023)
Mella Jaarsma
Art Basel Hong Kong ; ROH Project
21-25.03.2023
Indonesia-based Mella Jaarsma’s work for Encounters begins with an invitation ‘to see the artist as a building’. Often focusing on forms of cultural diversity embedded within clothing and the body, for this work the artist has engaged construction workers to utilise a pile of bamboo and configure a scaffold around her body. Whilst commenting on how the expansion of cities adds to the environmental burden, the artist actively pays homage to the builders as collaborators and uses her work as a platform to reflect on the dehumanisation of labor. Across the 5-day duration of Art Basel Hong Kong, the work will continually evolve through performative activation and durational habitation by five people, the first being the artist, with each person joining the performance in a process of accumulation. At various moments across its evolution, they will step in and out of the work in varied costumes that will remain in place of their bodies when absent. Underpinning the work is the question of who we are as a body, both individually and collectively, when we are seen and unseen.
The Artist Statement of Mella:
https://www.artbasel.com/hong-kong/encounters2023/mella-jaarsma
Note of Vivian:
https://www.instagram.com/p/Czti1oKvE8g/