“like a flower paddle my teeth”

Research output: Other contribution


On March 6th, 2019, at the Manchester Art Gallery, there was a performance programme that took place along with a symposium on the Asian diasporic artist Li Yuan-Chia: ‘The LYC Museum & Art Gallery and the Museum as Practice’. The symposium was organized as part of the public programme for the temporary exhibition: Speech Acts: Reflection-Imagination-Repetition, that was curated by Hammad Nasar with Kate Jesson.2 Curator Annie Jael Kwan from Asia-Art-Activism Research Network3 invited three Asian diasporic performance artists to make work for the evening event: ‘Being Present’, an experimental performance programme that was curated in response to the exhibition.4 Using a performance proposal consists of a number of untruthful information about the “acclaimed researcher” Zoe Meng, I impersonated as Zoe Meng in the performance. Zoe Meng is not a real person in this present society. However, her absence in the reality is incorporated with the material evidences that illustrate her fictional presence. The material evidences (performance materials that I use in the performance and the proposal for the performance) allow her narrative to inhabit a space between the institutional authority and the individual agency. Biographies of different scholars, artist and academics, such as the childhood experience of the 20th century diasporic Chinese artist Li Yuan-chia, the philosophical narrative of the feminist scholar Rosi Bradotti, and chimerical personal story of Zoe Meng, are mix-matched and “mashed” together as the contextual references for the fictitious biography of Zoe Meng.
Original languageEnglish
TypeCover Collaboration with British Art Studies Online Issue
Media of outputDigital Visual Essay
Place of PublicationOnline
Publication statusPublished - 30 Sept 2019


  • Performance
  • Asian Diaspora
  • identity
  • Fictioning
  • Subjectivity
  • Becoming
  • social engagement
  • Practice-based research


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