My cross-disciplinary practice confronts spectator with a playful reassessment of identity. As British born Chinese, I seek to understand how we function within particular cultures. My exploration of an unfamiliar location, Germany; its associated language, customs, history of rule and its people unravel from my anchor point at Villa Waldberta, Feldafing. Pulling together fragments of personal stories; Dachau’s turbulent history and neurotic glory-fall of Ludwig II; I have interwoven my own enchantment–uncanny fairytale that reconsiders interpretation of artist role through media of performance and video.
Video Stills and Images
http://www.slide.com/r/bxd3Smj15D9wANq1_ec48Q-wQNsUlZEt?previous_view=lt_embedded_url
Video
Madly Into Night, 5 minutes 30 seconds
See www.myspace.com/kaioi for showreel excerpt
Madly Into Night interweaves the enchantment of fairytale, perverse pleasure of horror/thriller, and extreme brutalities of the Nazi regime to dismiss any unified cohesion of nation and self. Set in Bavaria, Yung fragments three realities; the global shame of the holocaust, local history of Ludwig II’s colurful, mysterious rule, and the personal love story of a Munich inhabitant. Interlaced, they recreate and destabilise viewer’s voyeristic position within the simulacra.
Assuming both role of the mad king and fated empress Sissi, Yung deploys physicality of body to enact her internal interpretation of these truths in relation to specific locations and prop/objects. The obscenely multiplitious nature of her arduous physical tasks deploy the non-reproducibility of performance to transgress art into life. Simultaneously, the extent of viewer interactivity and the ambivalent potential of such socially engaged art/life is questionned; she reinserts her actions into video’s signified representation as visible phallic.
The resulting five minute dialogue engenders a strangely beautiful alienation between artist, viewer and reality; our own experience of dream-death-love is left to unfold.
Sunday, April 8, 2007
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