In the Performance Studies International (PSi#24) conference, I presented a paper titled Performative Autoethnography as a Tactical Research Methodology in Activism about my recent research on the performative practices of Hong Kong artists in social movements in Hong Kong. I also took part in the PSi Future Advisory Board Summer School.
My work was featured in Frank Vigneron’s book Hong Kong Soft Power: Art Practices in the Special Administrative Region, 2005-2014 published by The Chinese University Press, 2018:
正所謂「香港地少人多」。有見及此，魂游深入西九靚地王，收割大批寸金尺土，並舉行一場別開生面的「西九靚地王拍賣展銷會」，推出囤積居奇旺中帶靜的珍貴地皮，更有大量跳樓清貨的搶手靚盤。有樓有高潮，一地難求！拍賣展銷會只限一日，大家定必爭先恐後，出手投取心頭好！
Land for Hong Kong: Our Home, Our Say?!? In the light of ‘land shortage’ in Hong Kong, wen yau has acquired pieces of land from the West Kowloon site which be previewed in the ‘WK Realty Expo & Auction.’ Special properties collected from the site will also be available too. Everything Must Go! Don’t miss this rare chance to bid on a piece of the most precious land in Hong Kong!
Read more “一滴兩點 之 西九靚地王（謹向所有和平革命者致敬） A Drop and Two Dots (Homage to all peaceful revolutionaries)”
Invited by the Cultural Studies Department, I gave a talk as part of the “Introduction to Performance Studies” course.
Read more “Performing Protests: Performance as Tactics of Resistance in Post-Handover Hong Kong”
Invited by the Art of CUHK, I joined the panel discussion with Yim Sui Fong, sharing my performative practices of contemporary art.
Invited by the Department of Cultural Studies, Lingnan University, I spoke at the ‘2018 Annual MCS Symposium – Performing Crossover: Variations and New Alternatives in Hong Kong’s Cultural Studies’, about how performance studies informs my practice as an artist/researcher.
Read more “Performing Crossover: Variations and New Alternatives in Hong Kong’s Cultural Studies”
I joined the panel with Cole Roskam, Associate Professor, Faculty of Architecture, University of Hong Kong, and presented a paper on art in the post-Occupy spaces in Hong Kong.
文：梁嘉麗
行為藝術：以身體衝破禁忌
紋身和繩綁，是女性宣示身體主權的媒介，亦是來自外界、透過第三者加諸於自己身體的。然而，要掌握甚至運用身體作為反抗社會對女身單一、狹隘的想像，行為藝術就是最直白的表現。跨媒界藝術家魂游身材纖細，紥起馬尾就如小女孩，但在藝術界別中，她絕對不是唯唯諾諾的女孩，經常以自己的身體，表現出驚人的力量，令人反思女性身體在藝術乃至社會的角色和定位。在行為藝術家 Marina Abramovic 的電影放映前，魂游在講台上分享着自己的經驗，照片中的她，一絲不掛，在一張桌子上，移動着身體，以手臂和大腿的力量，從桌上攀到桌下然後回到桌上，身體綻放着光芒，呈現出女身的綫條和輪廓之美。作品《在桌上：向霜田誠二致敬》，是向霜田誠二的《在桌上》致敬，但重複的，卻只是那張桌子的設置，不論是概念抑或展現出來的美感，都跟「原著」大相逕庭。
Invited by Asia Society Hong Kong Center, I gave a talk in the film screening of Marina Abramović‘s The Artist is Present.
Read more “Film Screening: Marina Abramović: The Artist is Present”
From 24 July to 8 August 2017, I took up residency at the Asiatopia Foundation in Nan province, Thailand.
