Zhang Hanlu, "Platform Multiculturalism: More than Performativity"｜Frame Talk 3
This lecture features Zhang Hanlu reflecting on her "Kuaishou experience" and the video sharing app as a whole. Kuaishou is regarded among social science researchers as representative of the "real China" because of its user demographics–60% are from third- and fourth-tier cities and rural areas. Zhang Hanlu, for her part, believes the performativity of users' Kuaishou videos provides the key to understanding the social media platform. Kuaishou bloggers survive by labelling and making a spectacle out of themselves in accordance with the attention economy and the platform's rowdy nature. At the same time, their performances are interspersed with the roleplaying of other identities, imaginary visions of globalisation, and interpretations of the youth culture. As such, they suspend cultural stereotypes with a spirit of heterogeneity.
Yao Qingmei, "One Rehearsal: Performance No. 5. Successful Fall"｜Frame Talk 3
Two amateur actors go onto the stage. They each stand next to a pile of books. All these books have a name related to the word "success." The actors read the covers of the books in sequence and put them, one after the other, under their feet. Their reading gradually morphs into a physical balancing act. Reading paragraphs drawn from a few books, the actors accelerate the action, turning it into a competition. The accumulation of "success books" gradually raises the actors' bodies and finally results in two expected crashes.
Pu Yingwei, "Mother Tongue: Homoflottant"｜Frame Talk 3
This performance illustrates "Homoflottant"–a theory introduced by Pu Yingwei–and endeavors to break down the existing racial identity framework while suggesting a potential state of being both universal and fluid. Drawing from literature, advertising, and comics, the artist evokes the language of different ages, genders, and states, and ultimately weaves them into a tangled memory.
Zhang Wenxin, "Medium in Trance"｜Frame Talk 3
The human attachment to the organic world is reflected in the practice of modelling, where countless images collected from real life are utilised for the creation of virtual scenes as texture maps. This kind of virtual world can be regarded as a "resuscitative space." Linking the ancient mythical graphics created to understand cosmology with cognitive mapping and digital modelling premised on algorithmic techniques, Zhang Wenxin scrutinises and reconstructs the resuscitative space, bringing to light clues of organic life embedded in inorganic technical images.
Ma Qiusha, "Bleach"｜Frame Talk 3
Two performers of opposite genders are dressed in suits. Facing the camera, the female performer downs a cup of coloured liquid, which drips onto her shirt with traces left on her lips, jaw, and neck. Equipped with daily cleaning supplies, the male performer removes the stains for the female actor while situated in various positions–squatting, standing, and kneeling. The performance ends when he completes the cleansing, at which point the female performer becomes drenched. Some traces are eliminated but others are simultaneously uncovered.
You Yang, "The Development of Public Art"｜Frame Talk 4
You Yang gives an introductory lecture on the coordinate system of art over time, discussing space, subject matter, audience, and function. You Yang gives the caves in the Palaeolithic Period as an example, which embodied a variety of virtues, including habitability, "publicness," spirituality, and aesthetics. The subject matter and function of art has changed over time in correspondence to human achievements in terms of the reshaping of nature and prevailment over it. In modern urban life, the significance of all locations changes quickly. With images being produced and presented among the trappings of the everyday, art is affecting and shaping the aesthetic system as well as everyone's life.
He An+Chen Yueru, "12-Minute Sculpture"｜Frame Talk 4
In this performance, Chen Yueru sends instructions from Nanjing to Beijing via WeChat every other minute based on her reading of Lenormand cards. The recipient of her messages in Beijing, the artist He An, responds to her interpretation of certain cards with verbal and physical performances. 12 instructions are given in 12 minutes.
Nhozagri, "The Birth of A Suuuuuuuuuper Citizen"｜Frame Talk 4
There is a story that occurs in the Super Nhozagri Kingdom–it concerns a path forward and a path backwards that are part of a single whole. Walking all the way around marks the story's completion and a circle that forms into an "egg"–this is the shape of time. Everything takes place in this "egg," which also birthed the "super citizen." The performance touches on two dimensions: 1) the linear narrative of the story, and 2) the practical activity of "super citizen" who stems from it.
Ye Funa, "You Live in The Desert of the Real, But I Live in Beauty"｜Frame Talk 4
Taking the form of a monologue with real-time screen sharing, this performance investigates MeituPic–a beauty app–and the ways it's intervened in contemporary life and offered an alternative hierarchy for aesthetic criticism. Issues discussed in the performance include the creation of "self" and the virtual "self," the democracy of bottom-up quasi-art, the transformation and dissembling of the body, the impact of VR and image filters on politics, the metamorphosis of human society caused by technology, and social media exhibitionism.
Tong Kunniao, "Poo-poo Ping-Pong"｜Frame Talk 4
At the golden sunset, ping-pong balls are brought forth one after another – quacking while they rebound – like mischievous elves newly born in the gloaming. Culminating with the sound of a toilet flushing against a backdrop of lustrous sunlight, this performance is one that facilitates digestion.