14 thoughts from Expression Expediation 2018

By Fiona Cheng

22 Mar 2018
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1. I wonder when should I stop seeing the performance to rescue the artist while seeing his/her suffering or on the edge of dangerous in a performance or should I just let artist get completed from the suffering.

2. Some people can’t digest gluten (like our Claudia) and some are seriously allergic to shrimps (like my old classmate) or broad bean (like my Hakka distant relatives). Everybody has the different feeling to food/ objects/ gestures/ bodies. That’s why many say performance art is the hardest art to write about. We need to share. But we didn’t exchange enough to recognise each other’s diversities in this #EE2018.

3. Think about what’s the meaning of not exchanging of our thoughts if we’ve known that everything has always the different meaning to everyone so that better to let things happen spontaneously rather than control. Control is bad in art, spontaneousness sounds better. And people have a choice of keeping silent.

4. I have never ever doubt that the moment is the most important/essential element in a performance before #EE2018. But now I started to doubt myself. I try to think audience could be anything or just a background.

The audience can be a living object or non-living object. The artwork happened and the art piece/ audience/ space-environment became a package go to the future (archiving). The audience can be liquid flowing on the time as a history. Audience sometime needs to be present. Audience sometime is just a space.

5. Why / When did an intervention to a performance become a problem? 😅

6. There were few powerful moments questioned the performance itself that practically drove me being a realist.

7. I wonder how do few performance artists identify themselves while the real bodies performing in their real life outside the safe zone.

8. Maybe the limitation to a performance is the same to a body even to a human being.

9. We should experience performance rather than talk about it. It’s too frustrating to talk about it without connections.

10. How (not) to be site-specific when performance has already claimed every of them is site-specific?

11. Perhaps performance art is actually a little bit elite-centred, rather than public-orient, even everybody has a body.

12. I wanted to talk about Seiji Shimota’s influence over the “Asia region” but I couldn’t find a half-person to talk with.

13. I watched a performance at 3 AM and woke up at 7 AM at #EE2018.

14. Sometimes I feel myself like a new tourist, looking for/creating a new spectacles.

p.s. Sound around #EE2018 echoes.