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Artist Statement
If we have something called 'Woman Art,' why don't we have something called 'Man Art' on equal terms?
In order to investigate the concept of male art, I will re-perform four works originally executed by women artists. When a man replaces a woman within the context of 'Woman Art,' does ideas of femininity remain unchanged and unchallenged, or would I as a man in turn discover 'femininity' within myself during the re-enactments of these 'female' performances? On the other hand, in the transient moments of performing, I may find that entrenched ideas in 'Woman Art' and 'Man Art' still lie in opposition to one another. Then again, perhaps gender bears no relation at all to the art itself?
『如果有一種叫做「女性藝術」的東西，那麼為什麼我們沒有另一種叫做「男性藝術」的東西？』
我嘗試重新演繹四位女性藝術家的表演作品，去探究「男性藝術」。當女性藝術作品換上男性時，是否就此失去女性獨有的特質？而作為男性的我，會否在重新演繹的過程中發現自我內在的女性特質？那麼「女性藝術」和「男性藝術」是對立的，還是只是一線之差？或許，藝術本就無分性別?
Marina Abramovic: Rhythm 0 (1974)
Leungpo: Itchy Itchy (2003)
Adrian Piper: Catalysis (1970-1971)
Gillian Wearing: Dancing in Peckham (1994)
South China Morning Post 14th March 2004
