For me, performance is an unfolding of a transformative process initiated 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 body-mind connections, my performance seeks to embody the strength and fragility of the human form in its purest manifestation.
I have performed in theatres, galleries, outdoors, liminal spaces and multipurpose building locations. The range of artistic approaches, content, and context in which the live body is situated in these environments has expanded my perception of the performing states, shifting from theatrical to naturalistic. The framing strategies I have employed in the theatre context have been enriched by the proximity to the viewers and the significance of other bodies, objects, and/or elements that share the space. It necessitates a constant dialogue with oneself and the surroundings, which presents exciting challenges for me as a mature performer.
I have performed in theatres, galleries, outdoors, liminal spaces and multipurpose building locations. The range of artistic approaches, content, and context in which the live body is situated in these environments has expanded my perception of the performing states, shifting from theatrical to naturalistic. The framing strategies I have employed in the theatre context have been enriched by the proximity to the viewers and the significance of other bodies, objects, and/or elements that share the space. It necessitates a constant dialogue with oneself and the surroundings, which presents exciting challenges for me as a mature performer.
Photo credits: Performing and Not performing, Performed by Jia-Yu Corti by Hugo Glendinning, The Grief Exercise (Neurolive workshop) by Lucas Chih-Peng Ka0, Scorpion by Andrew Bruce, House with the Ocean View by LNDW studio, Dream Dangerous by Deniz Guzel, Becoming Fungi Becoming Forest by Adele Reed, The Squash by Beatrice Corti; Still images from First Days by Fabian Kimoto; Vexations by David Amar; Snakes by Yarli Allison
The years of working with artists and choreographers in gallery and theatre contexts have enabled me to witness how the boundary between performance art and dance has been pushed, while allowing me to inhabit the zone that incorporates personal history, thought processes, and new dance forms. Working in cross-genre, cultural, 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.
2025
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
Photos: David Amar
2024
The House with the Ocean View
Photos: LNDWstudio
Marina Abramović @ Stedelijk, Amsterdam
Performed by Jia-Yu Chang Corti
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
Performed by Jia-Yu Chang Corti
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
Read Jia-Yu's interviews on the days before and after the performance, conducted with curator Karen Archey and curator-in-training Mela Miekus.
stedelijkstudies.com/the-house-with-the-ocean-view-chang-corti/
stedelijkstudies.com/the-house-with-the-ocean-view-chang-corti/
A year after the performance of House With the Ocean View at the Stedelijk Museum in Amsterdam, I received a letter from an audience member who attended the Marina Abramović retrospective exhibition, of which my performance of HWOV was a part. These moving words take me back to the room and allow me to relive the intimate moments I’ve had with the visitors in those 12 days. They capture the profound impact of art and performance, as well as the power of Marina Abramović's work. The simplicity of the performance draws me and the audience into a state of shared emotional connection that transcends personal grief, joy and the many facets of life. I am tremendously grateful for this experience, which has not only changed the way I see presence and performativity but has also shown me how art has the power to connect, challenge, and heal.
|
Goedendag,
Ik wil iets vertellen over een bijzondere ervaring die mijn vrouw Indra en ik hadden bij een bezoek aan de Marina Abramovic-tentoonstelling. Daarvoor moet ik een en ander uitleggen en ik hoop dat de mail niet te lang wordt.In 2010 bezochten Indra en ik met onze twaalfjarige dochter Melissa New York en we zagen daar Marina Abramovic’ The Artist Is Present. Ik wist wat maar niet veel van deze kunstenaar en Indra en Melissa geheel niets, op wat ik hun had verteld na. We waren er vroeg in de ochtend en druk was het niet. Dit bezoek was een bijzondere ervaring en we hebben daar uitvoerig over gesproken met elkaar. Vooral voor een meisje van twaalf waren de performances maar ook enkele video’s nogal een ding. Ze ging er open in en was diep onder de indruk. Van een week New York is dit wat ons drieën het meest is bijgebleven. Eind 2022 is Melissa gestorven na ongeveer tien jaar psychisch leed. Ons verdriet zal ik hier niet beschrijven. Toen jullie Abramovic-tentoonstelling openging moesten Indra en ik er heen. Opnieuw waren we onder de indruk en we herbeleefden onze ervaring van New York. Daar waren minder live performances en was de kunstenaar er natuurlijk zelf, maar bij jullie was het mooier ingericht. Het was opnieuw indrukwekkend. The House With The Ocean View werd toen nog niet uitgevoerd en ik ging later alleen terug. Ik was diep onder de indruk van de kalmte en ingetogen grootsheid waarmee het alledaagse met veel aandacht tot een verheven ritueel werd opgetild. Ik wilde dat Indra dit ook zou meemaken en samen gingen we nog een keer naar het Stedelijk. Het was vroeg en we gingen met de eerste groep naar binnen. Lang zaten we op de bank te kijken. Het was als een meditatie. Je moet weten dat we na Melissa’s overlijden slecht slapen en onrustig zijn. Hier ervoeren we rust. Na ongeveer een half uur, misschien langer, stonden we op en bekeken de rest van de expositie nogmaals. Toen we klaar waren gingen we een keer naar de zaal van de bewuste perfomance. Die was inmiddels helemaal vol, mensen zaten op de grond en stonden aan de randen. Wij liepen naar de achterste wand, waar toen geen performance meer was. Op het moment dat we weg wilden was de beste manier om vlak voor de installatie langs te lopen en toen we dat besloten fluisterde ik in een opwelling tegen Indra dat ik de performer wilde bedanken. Die stond op dat moment helemaal vooraan in het huis. We liepen langs en ter hoogte van de performer draaiden we een kwartslag, we keken haar aan en zij keek terug. Ik knikte heel zacht met mij hoofd en zij knikte terug. Ik meen met een heel kleine, warme lach om haar mond. We liepen de zaal uit met tranen in onze ogen. Ik had het gevoel dat ze recht in onze ziel had gekeken en ons verdriet had gezien en had begrepen. Het was intens en kalmerend tegelijk, het was heel troostend. Ik hou van kunst maar emotioneel ben ik niet eerder geworden en dit was voor ons indrukwekkend. Daarom wil ik dit vertellen en jullie hiervoor bedanken. Misschien wilt u dit doorsturen aan juiste personen. 6 augustus 2025 |
Good day,
The House With The Ocean View wasn't being performed yet, and I went back later alone. I was deeply impressed by the calm and understated grandeur with which the mundane was meticulously elevated to a sublime ritual. I wanted my wife to experience this too, and together we went to the Stedelijk Museum again. It was early, and we went in with the first group. We sat on the couch for a long time, watching. It was like meditation. You should know that after Melissa's passing, we slept poorly and were restless. Here, we experienced peace. After about half an hour, maybe longer, we got up and viewed the rest of the exhibition again. When we were finished, we went to the room where the performance in question was taking place. It was now completely full, with people sitting on the floor and standing at the edges. We walked to the back wall, where there was no longer a performance. When we wanted to leave, the best way was to walk right past the installation, and when we decided to do so, I whispered impulsively to Indra that I wanted to thank the performer. She was standing right at the front of the room. We walked past and, at the performer's level, turned a quarter turn, looked at her, and she looked back. I nodded very softly, and she nodded back. I think with a very small, warm smile on her lips. We left the room with tears in our eyes. I felt like she had looked straight into our souls, seen and understood our grief. It was intense and calming at the same time; it was very comforting. I love art, but I'd never been emotional before, and this was impressive for us. That's why I want to share this with you and thank you for it. 6 augustus 2025 Please note that the names and personal details have been removed from the English translation version. |
Marina Abramović @ Royal Academy of Arts
London September 2023 - January 2024
Reperforming: Imponderabilia, Luminosity, Nude with Skeleton
Reperforming: Imponderabilia, Luminosity, Nude with Skeleton
Photo: Jaya
Performing and Not Performing, Performed by Jia-Yu Corti (2023)
Oracle Leaves - Portraits of Daphne (Colette Sadler, 2022-23 touring)
colettesadler.com/oracle-leaves/
colettesadler.com/oracle-leaves/
The Swarm (Tino Sehgal, 2021), Blenheim Palace (https://blenheimartfoundation.org.uk/exhibitions/tino-sehgal/)
Dead Time Blue (Pan Daijing 2020), Martin Gropius Bau, Berlin
Tissues (Pan Daijing 2019), South Tank, Tate Modern, London
pandaijing.com/tissues-ii/
pandaijing.com/tissues-ii/
Phase Shifting Index (seven-channel video installation, Jeremy Shaw 2019/2020, currently on world tour),
The Squash (Anthea Hamilton 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
The Show Must Go On (Jérôme Bel 2001; performed with Candoco Dance Company 2014 & 2017)
The Show Must Go On (2015) at Sadlers Wells, London Photo: Danilo Moroni
These Associations (Tino Sehgal 2012) Tate Modern, London
Reading from a Ribbon (Grace Schwindt 2012), Void Gallery, Derry
photo: Paula Bernadelli