Art Scene II, performance with Christine Wang, 2016. Duration: 23 minutes
DOMINATE YOURSELF, is a program composed of 1-hour sessions designed to bring you face to face with the worst you have to offer. Part artist talk, part group exercise class, part D/s sermon, this participatory performance is an experiment in using physical education to transcend traditional notions of self.
As a participant, you are expected be punctual and to wear something easy to move in so that you can properly surrender to forces greater than yourself. Come prepared to delve through your personal baggage so that together, we can conquer insecurities, internalize reality’s inherent contradictions, and come out the other side stronger than ever imagined!
Dominate Yourself, promotional video for participatory performance, 2015. Duration: 3 minutes 38 seconds
Black Noise is a durational performance created by Kim Ye.
The work was performed for the first time by Pomona College art students in 2014 who worked in cooperation with the artist. Below is an excerpt from an email sent to the students in preparation for the performance:
The task of this performance is to generate & embody new relational possibilities between human-beings and non-human-beings. But in order to start our exploration we first need to examine the non-human-beings in our immediate surroundings (i.e. furniture in your dorm room, orientation of a classroom, layout of the cafeteria, dimensions of different areas within your car) and describe how they require our bodies to arrange themselves. Think about how architecture, furniture, and appliances train our bodies to behave over time…I want to ask, why can’t one lay across all the tops of desks in class? Or do research while stretching out on the floor of the library? Or drive a car on your tummy?
The objects we surround ourselves with both enable us and restrain us. What is the new Broad art building if not a container for the creative cultural impulses of this community? There is nothing inevitable about the structures that surround us, so rather than take them for granted, it’s time to treat them as active collaborators.
This performance is not a critique; it is an expansion upon how humans can relate to their immediate environment. Throughout history we as humans have projected our experience of the world onto inanimate objects (in religious, ritualistic, domestic, and other contexts). In working through this performance together, I hope to put the emphasis on bringing us humans towards the non-human experience, to allow the building to help us experience the world through thingness. Who knows what we’ve been missing out on…?
Take 3 short videos (Vine-length is fine) of you mis-using a piece of furniture or architecture. I don’t mean mis-using necessarily in a destructive “using it poorly” way–I mean that it should be an action or gesture that one would not usually associate with the item at hand. The item or sites you choose to interact with should be something you see or use on a day-to-day basis. You can tweet or email me the best one, but be ready to share all three in class. Here’s some inspiration if you need some: http://www.seenox.com/2014/04/18/stucked-pets-dogs-cats/
29/single/Online now! (preview), Single-channel video, 8 minutes, 2014
Close-up POV shots of various men—their limbs, torsos, hands, and groins—as they sit, lounge, and lay in various states of undress; 29/single/Online now! unfolds like a guided tour of the male body through the lens of desire. These intimate images are strung together by an omnipotent female voice that is genuine yet stylized, natural yet produced. Alternately seductive and withholding, playful and demanding, vulnerable and invincible; it reflects reality by weaving a fiction. If She were a predator, this would be Her bait…
Domestic Escape Artist, 3-hour performance within Get Away Car
Segment of documentation recorded by security camera at Steve Turner Contemporary on August 11, 2012
Dyad, Single-channel video, 8 minutes 39 seconds, 2012
Around the Dinner Table functions as an installation for collective performance.
The above documentation is taken from a performance at the Getty Center in October of 2011.
HOW IT WORKS:
A banquet table is stocked with an abundance of food. There is a single chair at the table. A camera faces the chair. Behind the camera is a large projection screen. A looped video plays: close-ups of mouths chewing and full of food. Below the camera, there is a sign: This food is free but please sit in the chair at the table as you eat. As one sits down in the chair, the looped video is replaced by the camera’s live stream. One eats while facing her own magnified projection. As one rises from the chair, the looped video resumes playing.
Los Angeles Road Concerts
September 18, 2011
Los Angeles Road Concerts presents a showing of site-specific projects from over 100 Los Angeles artists in unused public outdoor spaces along the entire length of Sunset Boulevard’s 24 miles, from Downtown to the Pacific Ocean. For one day, artists will perform works, display installations, facilitate car pool happenings and make music in public spaces such as sidewalks, traffic islands, parking lots, as well as inside the audience’s cars as they traverse one of LA’s most iconic boulevards.
featuring Rest Area
by Kim Ye and Christine Wang
Two identical Toyota Sienna minivans are parked directly across the street from each other at either ends of a pedestrian crosswalk. Both side doors are open on the vans, this creates a tunnel that pedestrians must pass through in order to cross the street. Inside of the vans there will be music, air-conditioning, and refreshments offered to the pedestrians. Through the creation of a temporary shared oasis at the boundary between sidewalk and street, we hope to propose an alternative function for the automobile, while simultaneously modifying the bodily experience of the pedestrian.
The Life of Objects [phases 1-3]
Why does the becoming of a Christmas tree involve such a degree of pomp and circumstance, while its ending is treated with the irreverence of a chore? A loaded signifier that takes its place at the center of family gatherings is discarded in the same manner as common houshold waste, dust, and dirt. This project is an exercise in processing the leftovers of a traditiona, a meditation on the signifier’s fall from preciousness to worthlessness…