#3 kiss or kill?

The body needs a verb to rehearse within a biography

Kiss or kill? Soul or form? Perhaps a gesture or a profile. The former ones refer to a sense of encounter, the latter to the account of autonomy. The two faces, while existing as parallel contexts on one side or the other, echo the theoretical substance of performativity.

 

Through balancing the heterogeneity of the act from each verb, they speak together. The concept of kiss or kill? The body needs a verb to rehearse within a biography is embedded in the intertextuality of body politics and biopolitics.

Following the crucial themes - death, power and the body - River Lin focuses on body politics. Lin’s work Mexician Kiss uses the body and site-specific installation to portray a ritual exercise articulated in an running sense of appearance and disappearance over time. Chang Wen Hsuan considers biopolitics as her key subject. Killing La Malinche departs from a common character found in different post-colonial histories. Here proposition illustrates the untranslatability of narratives under the imaginary historicity machines.

By countering the idea that if there is a first-person voice, there is a definition, both artists work-in-progress opens the question - If the first-person no longer exists then who owns the power of discourse?

 

Kiss may refer to a symbolic infinite and kill might speak for a zero degree. Or vice versa.

 

with performative installations and happenings composed of narrative, editorial, and choreographic forms

Opening: 27 October 2017, Friday 8pm

Exhibition: 28 Oct - 12 Nov by appointment

A Nocturnal Acted Salon

Mexician Kiss

River Lin

Killing La Malinche Chang Wen Hsuan