What are you currently working on—and what do you find particularly stimulating or challenging about it?
I am excited to present my performance for the first time at Perform! curated by Klaus Biesenbach (Director of the Neue Nationalgalerie), Lisa Botti, and Gregor Quack at the Neue Nationalgalerie in Berlin. I am looking forward to Joan Jonas’ ›Mirror Piece I & II‹. Speaking of mirrors, I am currently exploring how performative materials—like glass and mirrors—can perform, rather than confining performance to the live body.
At the same time, I am preparing for a group exhibition at Zilberman, curated by Misal Adnan Yıldız, which explores the queer body. In parallel, I am researching identity politics and their connections to colonial history in Hong Kong, as part of the preparation for my upcoming solo exhibition at Blindspot Gallery and a new presentation for the Taipei Biennial, curated by Sam Bardaouil and Till Fellrath, while continuing my current Désirée & Hans Michael Jebsen Fellowship with the Asian Cultural Council in New York.
Do you have a daily ritual that gives you structure or inspiration?
I don’t have a daily ritual. Repetitive structure tends to limit my inspiration, but an open structure layers potentiality and unpredictability.
What kind of music do you listen to when you want to focus or reconnect with your creative process?
I sing. Sometimes my singing playlist is turned on while I work. I’m not sure it helps me focus, but it’s fun. I sing some Cantonese love songs from my teenage years, and when I get bored of myself, I switch to Jazz.
Has there been a book that fundamentally changed your perspective—and why would you recommend it?
That’s a tough one. Many books have shaped my perspective; it’s like crumbs from each book surprisingly coming together to make a delicious bread. One that stands out is ›Life? or Theater?‹ by Charlotte Salomon. I was deeply moved by her work, which combines painting, text, and song. Experiencing it felt like witnessing a performance.
Is there a work of art you would love to have in your home?
Can someone gift me ›Die Mütter‹ by Käthe Kollwitz? I just love this work. I referenced it in 2022 during a collaboration with Inka Gressel and Susanne Weiß from ifa-Galerie Berlin. In my performance during Berlin Art Week, I gathered singers and we hugged each other like the figures depicted in Kollwitz’s work, turning in a circle while singing chants, dirges, and lullabies. The music was directed by Dagmar Aigner who has worked with mourners in Munich for over ten years.
Which exhibition venue in Berlin inspires you?
That’s a difficult choice; I tend to go for artist’s work. I think of ›One Year Performance 1980—1981 (Time Clock Piece)‹ by Tehching Hsieh presented by the Neue Nationagalerie.
Is there an object that accompanies you and reflects a part of your identity?
My drawing book, sometimes you see notes that I write, or doodling, or drawing, or wrinkles and crease as I used it to capture forms from public spaces, and some numbers as I need to write them out otherwise my brain will be cooked. All these things sometimes take place together in one single paper. It’s cute to see my budget plan hanging out with my notes I took during a Fluxus talk.
What keeps you going, even in moments of doubt?
I constantly ask myself this question. I think it’s still the surprise, excitement, and emotional resonance I experience when I encounter and bring great ideas to life. It never bores me.
Which personality would you like to have a conversation with—and what would you talk about?
Do you mean a personality I have? Perhaps the funny one. I love a good laugh.
What do you look forward to when your working day comes to an end?
Bed? Actually, I often continue working on ideas while in bed. Maybe what I look forward to most is a sleep without dreams. My dreams are like movies, sometimes more exciting than the ones I watch. They are enjoyable but they don’t help me rest.