匿名的想像II Anonymous Imagination II
葉子啟 Yeh Tzu-chi
Singapore Council of Women’s Organization, Singapore, 2013/11/1
Photo by Nel Lim
活動結束四個月後﹐我收到策展人Daniela Beltrani自新加坡寄來的紀錄手冊 Making Space, Body as Woman裡﹐出身夏威夷﹐長居於新加坡的日裔美國人Jane M. Shishido對此作做了有趣的論述：
In the room of Singapore, I did the performance Anonymous Imagination again which I had done in Taipei last August. There’s red carpet in the room so I used the lavender yarn offered by the curator. We couldn’t find the proper body paint in a very limit time, so I used my black eye shadow instead. And I changed the orders of movements without even knowing it. Furthermore, I could only drag the yarn with me along the space without collecting it little by little into my black dress simply because the yarn couldn’t roll on the red carpet!
Four months later, I receive the documentary catalogue Making Space, Body as Woman by the curator Daniela Beltrani from Singapore, where Jane M. Shishido, a Japanese American who lives in Singapore, thus writes about my performance:
….The usage of the naked body as expression and unabashed vitality has been around for decades with notably the Asian iconic art stars Yoko Ono and Yayoi Kusama in New York at the height of hippy, free love, and pop art culture of the mid 1960s. Tzu-chi herself is highly influenced by the radical Japanese artist Seiji Shimoda and uses the bold and uncompromising unclothed body to define and confront physical discourse.
Tzu-chi’s performance started with a whimsical peeling and eating of an onion. She then proceeded to hold up a pair of wine glasses full of water and examine the properties of the liquid. It was a sort of gender reversal, next, as a quick make-up fix made her face smeared with black to mimic a rough moustache and masculine facial hair. But as soon as the faux male character appeared in front of the audience, like a bored and antsy pre-schooler, Tzu-chi shed her clothing yanking her dress above her shoulders as she dragged herself around the room with lavender underwear showing. There was nothing glamorous or titillating taking place, but an almost amusing and restless ambiguity. The body is our last refuge of self and identity, it’s a vessel for personal histories and as Tzu-chi had shown with her performance, it is literally hidden beneath layers and layers of mystifying complexity. (p. 15)