*Please be aware that this performance contains adult content and might not be suitable for all ages.
*请注意此次行为艺术包含成人内容,可能不适宜全年龄观看
A fitting excerpt from the artist's journal reads Are Chinese women and girls allowed to be angry? Zhang reflects upon the solidification of gender norms in China during the 1990s and the subsequent draconian delineation between those who fit into the hetero-patriarchal expectations and those who did not. In the wake of this period, we see many young Chinese artists like Hedy, and many of them women, finding ways to live, make and embody themselves in opposition to these societal constraints. In Zhang’s performance, we will see the artist garmented in the self-appointed persona of “SLUT”, utilizing a sexist and patriarchal lexicon to “introduce” herself to the audience. Playing with the power and politics and the inherent radicality of self-representation, Zhang wears a “costume” that inversely brings us closer to the truth.
- Adriana Furlong
“女性的愤怒被允许存在吗?”这句恰当的摘录来自艺术家海燕的日记。 海燕的反思基于自90年代的成长,社会对性别规范的固化以及日益严苛的框架,女性在异性 恋父权社会中被理解为符合性别预期的和不符合性别预期的。在当下觉醒的时期,我们可以 看到越来越多的像海燕一样的年轻艺术家们,其中不乏女性,TA们寻找活着的方式,在与这些 社会性约束相反的姿态里,创造和体现自我本身。在海燕的行为艺术中,我们会见到艺术家为 自己着装成为自封的角色“泼妇(荡妇)”,利用一本性别歧视的和父权意味的辞典向观众“介 绍”自己,表演自我表述里的ql,zz,以及固有的激进。海燕身着“戏服”,却引我们接近真实。 (2021)
-- 阿德里亚那 • 弗隆 Translator/ Suli
翻译者/ Suli
