For me, performance is an unfolding of a transformative process ushered in by the interplay between the choreographic instinct, spiritual contemplation and artistic intervention. I am keen to explore the personal within the global context and investigate the narratives, whether fact or fiction, that have shaped our sense of identity and belonging. Through the cultivation of the body/mind connections, my performance seeks to embrace and embody the strength and fragility of the human form in its purest manifestation.
Vexations
https://www.southbankcentre.co.uk/whats-on/vexations/
Direction: Marina Abramović
Performance: Igor Levit (piano), Sara Maurizi, Jia-Yu Chang Corti
Set design: David Amar
The House with the Ocean View
Marina Abramović @ Stedelijk, Amsterdam
5 - 16 June 2024
https://www.stedelijk.nl/en/the-house-with-the-ocean-view-en
Conditions for Living Installation: Artist
Duration of the piece: 12 Days
Food: No food
Water: Large quantity of pure mineral water
Talking: No talking
Singing: possible but not predictable
Writing: No writing
Reading: No reading
Sleeping: 7 hours day
Standing: Unlimited
Sitting: Unlimited
Lying: Unlimited
Shower: 3 times a day
Remain silent
Conditions for Living Installation: Public
Establish energy dialogue with the artist
Clothes:
The clothes for The House with the Ocean View were inspired by Alexander Rodchenko. The color of the clothes were selected in accordance with the principles of the Hindu Vedic square.
The boots are the ones used by Marina Abramović's walk of the Great Wall of China in 1988
Storage:
1 bottle of pure almond oil
1 bottle of rose water
1 bar of soap without perfume
1 wooden comb
12 thin cotton towels
12 cotton underwears
12 white cotton t-shirts
7 cotton trousers
7 cotton shirts
5 - 16 June 2024
https://www.stedelijk.nl/en/the-house-with-the-ocean-view-en
Conditions for Living Installation: Artist
Duration of the piece: 12 Days
Food: No food
Water: Large quantity of pure mineral water
Talking: No talking
Singing: possible but not predictable
Writing: No writing
Reading: No reading
Sleeping: 7 hours day
Standing: Unlimited
Sitting: Unlimited
Lying: Unlimited
Shower: 3 times a day
Remain silent
Conditions for Living Installation: Public
Establish energy dialogue with the artist
Clothes:
The clothes for The House with the Ocean View were inspired by Alexander Rodchenko. The color of the clothes were selected in accordance with the principles of the Hindu Vedic square.
The boots are the ones used by Marina Abramović's walk of the Great Wall of China in 1988
Storage:
1 bottle of pure almond oil
1 bottle of rose water
1 bar of soap without perfume
1 wooden comb
12 thin cotton towels
12 cotton underwears
12 white cotton t-shirts
7 cotton trousers
7 cotton shirts
https://www.stedelijk.nl/en/the-house-with-the-ocean-view-en
https://stedelijkstudies.com/the-house-with-the-ocean-view-chang-corti/
Photos: LNDWstudio
Marina Abramović @ Royal Academy of Arts
London September 2023 - January 2024
Reperforming: Imponderabilia, Luminosity, Nude with Skeleton
Reperforming: Imponderabilia, Luminosity, Nude with Skeleton
Performing and Not Performing, Performed by Jia-Yu Corti
as part of Neurolive programme: Liveness workshop 3 - Performance experiment
https://neurolive.info/Workshop-3
ThreeQuarterMoon
a solo improvisation, as part of How Shall We Begin Again, Jo Fong, NeuroLive commission
a solo improvisation, as part of How Shall We Begin Again, Jo Fong, NeuroLive commission
The Squash (2018), Tate Britain, London
Performing from 10am to 6pm on a daily basis has certainly instilled in me the stamina to generate moment after moment of creativity.
Performing from 10am to 6pm on a daily basis has certainly instilled in me the stamina to generate moment after moment of creativity.
photos: Beatrice Corti
Trajal Harrell: Hoochie Koochie, A Performance Exhibition (2017), Barbican Gallery, London
The Show Must Go On (2015), Sadlers Wells, London
Photo: Danilo Moroni |
Combining performance in theatre and gallery has been my current exciting development. The range of artistic approaches, content and context in which the live body situated in these environments have diversified my perception of the performing states from theatrical to naturalistic sensibilities. The framing strategies I have employed in the theatre context have been enriched by the close proximity with the viewers and by the significance of the other bodies, objects and/or elements sharing the space. It necessitates a constant dialogue with the self and the surroundings, which brings exciting challenges that satisfy me as a mature performer.
The past 7 years of working with artists and choreographers in the gallery and theatre contexts have enabled me to witness how the boundary of performance art and dance has been pushed, while allowing me to inhabit the zone that incorporate personal history, thought processes and new dance forms. Working in the cross genre, culture, age, queer and gender narratives has expanded the reference points upon which I draw to distinguish the nuances of the conceptual frameworks. A considered exploration in the multi-dimensions of theatricality, physicality, and philosophy shapes the way I approach a performance project. I am excited by the opportunity to transform ideas, exchanges, collaborations, dialogues, inventions, imitations and imaginations into action, form and voice. |
rivercities-urbanflows (2014), London photo: Carolyn Deby
These Associations (2012) Tate Modern, London
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Reading from a Ribbon (2012), Void Gallery, Derry
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photo: Paula Bernadelli
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