Excerpt from Inward Gazes: Documentaries of Chinese Performance Art 2012, The Macao Museum of Art, Macau S.A.R., 2012, p. 24: 'The artist placed two tables at the center of the exhibition venue, and put on a wooden plate on them 100 pieces of sketching paper. He then used an electric drill to bore holes on the papers so as to create the Chinese character for 'GOOD.' He brought the 'GOOD' that he made on the spot in the exhibition venue in Chengdu back to Chongqing, and the whole process was being recorded by video. The artist took the DV onto the train, extending the scene from the Art Festival to the public space. The different reactions of the passengers on the train also became a vital part of the work.
The artist conveyed self-imprisonment and expressed the 'soft' violence and willpower underpinning our current culture through the 'hard' expression of the wooden plate and papers, and through the absurd action of roaming in public spaces recording video and sound. As it is said in Godard: Image, Sound and Politics, 'At the end we will see the values between the inter-connections, from here to there.' I would like to express thoughts in an 'in-between' position, rather than a still one.'
The performance was a journey that the artist took from the exhibition site of 'Up-on' The First International Live Art Festival in Chengdu, China to Chongqing, China.
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