In the name of being
Contemporary artistic creativity through the blurring of boundaries.
Presenting a fluid form of performance and visual art in the art museum space. Mimicking a journey to the museum space when admiring works of art, this performance will last for 8 hours, uninterrupted. Occurring within the timespan of one day, the performance art and the visual creativity blend in with each other. The disastrous narrative is perpetually repeated, clearly acknowledging the question is mankind’s “eternal return” to the dungeon.
“In the Name of the Body” reveals the impossibility in stereotyping the artistic creativity, akin to the infinitude in contemporary thought that identity is something that cannot be fixated.
Features
One key factor is the mechanism of the art museum space. The bodies inside the art museum space are the main media. Under the issue of self-identity, ink wash is used as cultural symbols. The permeability of the ink is integrated with the bodies. In the alternation of real and unreal visual images, the audience can reflect on the issue of self-identity.
The features of the art museum space and the features of the art of human bodies are combined together in the flowing performance and visual art presentation exhibited in the art museum .
With days as the unit, the performance that goes on for 8 long hours almost without any break is flowing freely like a painting for the audience to appreciate. The dynamic is converted into the static, manifesting the ambiguous integration of performance arts and visual arts.
Introduction
This contemporary artistic creation is led by Dominique Yen, the artistic director, and put into practice with vague boundaries with Ching-Chen Lu, the ink wash artist, and the dancers. Identities cannot be labeled. Their boundaries are like the image painted with ink wash, where concrete lines and ink bleeding are known existing phenomena. This contemporary artistic creation is conceived with rendered boundaries.
Presenting a fluid form of performance and visual art in the art museum space. Mimicking a journey to the museum space when admiring works of art, this performance will last for 8 hours, uninterrupted. Occurring within the timespan of one day, the performance art and the visual creativity blend in with each other. The disastrous narrative is perpetually repeated, clearly acknowledging the question is mankind’s “eternal return” to the dungeon.
“In the Name of the Body” reveals the impossibility in stereotyping the artistic creativity, akin to the infinitude in contemporary thought that identity is something that cannot be fixated.
Features
One key factor is the mechanism of the art museum space. The bodies inside the art museum space are the main media. Under the issue of self-identity, ink wash is used as cultural symbols. The permeability of the ink is integrated with the bodies. In the alternation of real and unreal visual images, the audience can reflect on the issue of self-identity.
The features of the art museum space and the features of the art of human bodies are combined together in the flowing performance and visual art presentation exhibited in the art museum .
With days as the unit, the performance that goes on for 8 long hours almost without any break is flowing freely like a painting for the audience to appreciate. The dynamic is converted into the static, manifesting the ambiguous integration of performance arts and visual arts.
Introduction
This contemporary artistic creation is led by Dominique Yen, the artistic director, and put into practice with vague boundaries with Ching-Chen Lu, the ink wash artist, and the dancers. Identities cannot be labeled. Their boundaries are like the image painted with ink wash, where concrete lines and ink bleeding are known existing phenomena. This contemporary artistic creation is conceived with rendered boundaries.