Biting Room and Nice Room
Mixed media, Live performance
40 minutes
Dimensions Variable
2019

The color that is lost with death
Three Screen Video Installation
1 minute 4 seconds; 1 minute 40 seconds; 29 minutes 51 seconds, Dimensions Variable
2019

Eggs and Walls
Live Performance/Intervention
Dimensions Variable
2019

Jing Xie

Jing Xie (b.1993) is a Chinese artist who mainly works with performance and moving image. She co-founded performance artist group Hijack in 2016. She is continually exploring the relationship with others, looking into the possibility of reconsidering individuality and its relationship with social conventions within established political contexts, to make the self and the individuality appear in different relationships. In her recently works, presenting the reflection on the various crises that humans beings facing together, projecting her own experience into broader common experience and social connections.

My degree show project Biting Room and Nice Room is mainly focus on the reflective thinking of consumerism, hybridization, cyborg, female subjectivity in human general sense, aiming to sculpt a possible future of humankind, reflecting on various daily crisis emerging in the Anthropocene. This work has presented a seem like hybrid world based on our alienated spectacular world and focusing on alarming society phenomena among Chinese young generation, since the fantasy of massive capital shocks and the illusion of quickly famous. I have set up the space in a scenographic sense. It is a playing field, a landscape, and a slice of society.

I have investigated into ambiguous and permeable state of the body, human boundaries, and gender through this work, rethinking human beings’ subjectivity and female subjectivity. And practically present how the prosthetic bodies embodiment in today’s emerging techno-dystopia context, how the prosthesis work as performative tools in the performance art practice. In addition, as performative tools, how does the prosthesis provide practical openness possibility for today's performance artworks, and how this type of temporary approach function as an in-process performance text within the performance practice.