Right to Harm (2019) Video, 04’03”
在2019年的年初，我在车站等车时遭遇了一次猥亵。当时该名男子在我低头看手机时，一边自慰一边filming me。警察在处理案件时观看证物的行为似乎是去性别化的凝视，但在父权社会中，公权力对女性的剥削、虐待和伤害具有普遍性。他们都拥有主导的权利，而我一直都处于被动的角色之下。影片的前半段运用frame by frame的拍摄方式，让我可以仔细地制作并观看每一帧，以此用我的视线覆盖并代替侵略者的视线。另外，我混入日常受伤的图片，把受伤的躯体作为被侵略身体的隐喻，把在身上不断生长的头发当作身体形成了一层自我保护的皮肤。
In early 2019, I was sexually harassed by a man while waiting at a bus station. At the time, he was masturbating and filming me while I was looking down at my phone. When looking at the evidence, the police gazed it in a seemingly de-gendered way. But in patriarchal society, the exploitation, abuse, and harm of women by public power is common. Men have all the right to dominate, while I've always been in a passive role. The video Right to Harm (2019) is based on that personal experience. The first half of the video is filmed frame by frame so that I can carefully edit and watch each frame, covering and replacing the offender’s point of view with my own. In addition, I added pictures of my everyday injuries, using the injured body as a metaphor for the assaulted one. There is also growing hair on the body which is treated as a layer of self-protective skin.
CCTV (24/7) (2019), Video, 02’49”
在国家、资本和父权的三重压迫下，“兼职”的家庭妇女成为了最庞大的弱势群体之一。资本通过分化女性角色，构建出了妇女的职责和天然属性的虚假文化——以男性世界为主的服务文化。在CCTV 24/7（2019）中，我虚构了一个家庭环境，制作了一系列异化的家庭生活工具，通过一本家庭用具穿戴商品手册进行展示；并以一个九宫格的视频为主要载体，在视频的每一格中展示异化工具的使用与互动；她们在家庭内外寻找和体验身份认同，同时，身体性的疲惫也是双重的。
Under the triple oppression of the
state, capital and patriarchy, "part-time" housewives have become one
of the biggest vulnerable groups. Through the differentiation of female roles,
capital has constructed a false culture of women's duties and natural
attributes, which is a service culture supporting the male world. In CCTV
24/7 (2019), I made up a fictional family environment presenting a series
of alienated household tools. A single channel video is presented in the format
of a 9-box grid with each box showing how housewives could use and interact
with these tools in various ways. It is supplemented by a household wearable
goods manual which explains the usage of the tools. "Part-time"
housewives seek and experience their own identities inside and outside the
family. At the same time, they are suffering from dual physical exhaustion.
洗衣机的出现是对手部活动的替代，是对长久以来，这种低强度但高密度的机械化活动的替代。它将妇女从固化的家政主角形象和这一受难式的被压抑的文化视角中解放出来。在千手观音中，我用人声模仿洗衣机工作的声音，和原本的电机声交织作为背景声。洗衣机的轰鸣声是现代生活中对这种乏味劳作的唯一抱怨声。但从人们对洗衣机的性能要求，尤其是对声音的厌烦中可以看出，洗衣被期望是一种高效稳定而安静隐形的活动，正如家庭妇女被期许的那样。
Washing machines
is a substitute for hand washing, a long-standing, low-intensity but
high-density mechanized activity often done by women. It frees women from the stereotype
of domestic protagonists and from the suffering and repressive cultural. In Goddess
Of Mercy With A Thousand Arms (on going), I use human voice to mimic the
sound of washing machines. It is combined with the original motor sound which
together serve as the background sound. The roar of the washing machines is the
only sound of complaint about this tedious labor we can hear in modern life.
But by observing people’s requirements for the function of washing machines,
especially from their boredom with the sound, we can conclude that laundry is
expected to be an efficient, stable, quiet, and invisible activity, just as
housewives are expected to be.
Goddess Of Mercy With A Thousand Arms (on going) is projected on a white bed sheet hanging alongside a few clothes by the lake.
从湖边手洗到家中使用洗衣机，并没有让妇女从家务劳动中解放出来。相反，洗衣机提供的高效率迫使妇女将节省下来的时间用于提高家庭和工作效率。由于过渡到与世隔绝的家庭环境，在湖边洗衣的社会功能也被取消了。至此，家庭主妇在工作和社会环境中受到了双重约束。
Lakes are regulated streams. The transition from hand
washing by the lake to using washing machine at home did not free woman from
domestic labor. Rather, the efficiency provided by the washing machine
pressured women to use the saved time for productivity, both at home and at
work. The social function of washing by the lake has also been eliminated
through the transition to isolated domestic environment. In this way,
housewives are regulated in both work and social context.
Housewifization Wearable sculpture 2020 spring/summer collection Installation View, 01’33”
《主妇化可穿戴式雕塑 2020 春/夏系列》 是一本产品手册，介绍了本项目中的异化工具，每种工具都配有插图和使用场景图。工具的产品规格和广告用语讽刺地指出了女性在家庭中的艰难处境。这本书被放置在商场入口处的折扣书架上，模拟真实的购物场景。
Housewifization Wearable Sculpture: The
Manual (2020) is a product manual introduces the alienated tools presented in
this project, each with a illustration and a usage scenario diagram. The
product specifications of the tools alongside
their advertising terms ironically points out the hardship of women in
the family. The book is placed on a discount bookshelf at the mall entrance, simulating
the real shopping scene.
Dragon Boat (2020), Video, 02’20”
在“捉奸”的语境中，女性遭受凌辱和暴力是视频的首位看点。在Dragon Boat(2020)中我使用了大量男性出轨者的部分，试图subvert“捉奸”影像以女性身体为主的视觉印象。影像中，男性出轨者基本都以暴怒收场，而男性愤怒是男性在父权制社会中被阉割情感后的表达常态之一。并且，在东亚情色制品中，cuckold桥段通常表现为在被强制观看或者偷窥中获得快感。我将其视为男性情感的另一种异化表达。
影片中穿插出现赛事照片，which是少数不带有性别角度的凝视，它更纯粹地关注和展现赛手的竞技的能力和情绪。这是父权制下几乎唯一一个被允许表达情绪的场景。
The contemporary imagery representation of women who
find their partners cheating often focus on the abusive and violent behaviors
they conduct. In Dragon Boat (2020), I combine a large amount of archival
footages from porn and social media in which male cheaters’ were cheating instead,
trying to subvert the inherent visual representation of female characters in
videos of such event. In this video, male cheaters generally end up in anger,
which is one of their normal expressions after their emotions get deprived in
patriarchal society. Also, in East Asian porn productions, cuckolding is
usually expressed as getting pleasure from being forced to watch the scene or
peeping. I see it as another kind of alienation of male emotions.
Photos of the sports events can also be found in the video, which is regarded as one of the few non-gendered gazes. It focuses more purely on the players' abilities and shows their emotions. This is almost the only scene under patriarchy in which emotions are allowed to be expressed.
Photos of the sports events can also be found in the video, which is regarded as one of the few non-gendered gazes. It focuses more purely on the players' abilities and shows their emotions. This is almost the only scene under patriarchy in which emotions are allowed to be expressed.
Why Men Kill (on going), Video, 01’56”
在中国法院网以“杀妻骗保”为关键字检索，我获得了29条相关信息。
中国女性一直以来扮演着蓄水池的作用，在劳动力短缺时投身第一线，在经济紧缩时回归家庭。而当社会情况处于“极端”处境时，例如饥荒年代，就成为备用粮，又或者是现在，成为想要跃升阶级男性另辟蹊径、不劳而获的备用金。在《Why Men Kill》中，我挪用了针对男性的商业广告，结合真实的杀妻骗保案中的细节，伪造了一个鼓励男性杀妻的广告宣言，借此说明，在新自由主义市场经济下，女性在消费主义陷阱中不仅作为”商品”和“对象“受到压迫，更有可能成为“货币”的危险。在制作过程中，我经常难以为继，因为在真实的案件中，男性设计陷害女性的手段狠毒而残忍。
When searching "kill wife for insurance " on the website of China Court, I obtained 29 entries.
Chinese women have long played the role of reservoirs. They join the front line whenever there are labor shortages and returning to their families in the face of economic contraction. When the society is in extreme conditions, such as famine, they even become food reserves. "kill wife for insurance " shows that even now, women are a shot in the locker for men who want to take an alternative approach to raise social class without much effort. In Why Men Kill (2020) I collected footages from commercials aiming at men and combined them with news reports of the real wife-murdering case. The work absurdly forged an advertising manifesto encouraging men to kill their wives. By this I want to explain that in a Neoliberal market economy, women are not only oppressed as commodities and objects in the consumerist trap, but are more likely to be used as currency. While working on this project, I often found it difficult to continue seeing how vicious and cruel in real life men could be when harming women This project is still a work in project which I would like to work on in the future.