Performance 2015-2017
École supérieure d’art et design, Rouen
Nanhai Gallery, Taipei
École nationale supérieure d’art de Bourges
III. Dégustation
Performance, 12 mins, 2017
École supérieure d’art et design, Rouen, France
II. In a shaved ice shop
Interactive performance, installation, variable dimensions , 2016
Nanhai Gallery, Taipei
Within an art gallery, an unexpected sight awaits—a shaved ice stand. In this intriguing setting, I’ve concocted an array of flavors and colors, employing an eclectic mix of jams, honey, spices, and flavorings. The spectrum spans from sweet to savory, and from bitter to acidic. A simple rule guides the audience in engaging with this performance, creating a unique interactive experience.
Spectators are invited to participate by responding to questions posed to them. Queries like ‘How are you doing?’ or ‘Which color represents your mood today?’ are posed. Deeper questions, such as ‘If your job had a flavor, what would it be?’ or ‘Do you like children? How many do you want to have?’ further spark engagement. Each response received determines the infusion of various-colored ingredients into the ice cup. Thus, a dialogue unfolds between the participants and me, and the shaved ice continually evolves throughout the conversation. Each person’s distinct replies give rise to a one-of-a-kind cup of ice. As the exchange concludes, and the intricate process of ice-making culminates, I joyfully announce, ‘Here you are, c’est la vie. Enjoy!’ The frozen masterpiece, uniquely shaped by each interaction, stands as a delightful embodiment of the varied flavors of life.
I. Days of horse
Performance, 20 min, 2015
École nationale supérieure d’art de Bourges
John Cage’s artistic philosophy was deeply influenced by the ancient Chinese philosophy of I-Ching, which he embraced to create music using the concept of ‘chance operation.’ This approach involves crafting music or art through the serendipity of sounds and noises, celebrating the intrinsic beauty of contingency.
Drawing from Cage’s methodology, I adapted this approach to the everyday gestures of artists. My intention was to seize a fleeting moment from my art education experience, spotlighting these fragments of life pulsating with latent artistic potential. Activities as commonplace as talking, reading, eating, drinking, painting, dancing, sleeping, walking, standing, and running beckon us, each imbued with an undercurrent of artistic possibility.
Every participant seamlessly follows the instructions set by the ‘scores,’ actively engaging with the crafted ‘scenarios.’ These scenarios elegantly unfold through an intricate interplay of varied timings and diverse bodies in motion, resulting in a tapestry of heterogeneous interactions. In this immersive space, the audience finds themselves liberated, empowered to navigate and explore their surroundings without constraints.
The ‘scores’ that choreograph these occurrences are woven from the enigmatic boundary bridging life and art—often capricious and absurd. The imagery of horses in fruitless race symbolizes the inherent desolation and weariness etched into these amalgamated motions.
Ting Chia Wu 