👀 projects & publications

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my work moves between the visual avant-garde, utopian and dystopian literature, historical pain, and everyday dark humour — at times returning to a distinctly Wildean aestheticism

i am interested in how beauty, monstrosity, money, diplomacy, surveillance, and technocratic power reorganise what becomes visible

  • Selected Publications in Chinese

    部分中文写作 2014-2022

    • Book chapter

    Wu Di and Zhang Deming eds., Studies on the Formation and Communication of Foreign Literary Classics, Peking University Press, 2019, Chapter 3.《外国文学经典生成与传播研究》北京大学出版社(国家社科基金重大项目)

    • Journals [See Academia, only author, peer-reviewed]

    Lobster and Classic Utopian Narrative”, Contemporary Film (No.6 2017): 168-72.《龙虾极其古典乌托邦叙事》载《当代电影》(电影研究中心)

    “The Devil and Fantasy in Norse Mythology”, Shucheng (No.3 2017): 61-9.《北欧神话的魔与幻》载《书城》(上海三联)

    “Once again on Utopian Narrative: Reading Utopia and Robinson Crusoe”, Comparative Literature and World Literature (Vol. 10, Dec. 2016): 30-8.《再论乌托邦叙事:重读<乌托邦>与<鲁滨孙漂流记>》载《比较文学与世界文学》(北京大学)

    “The Transformation of Utopia in China”, Shucheng (No.12 2016): 37-45.《乌托邦的中国意境》载《书城》(上海三联)

    “The Contradictory Evolution of Utopian Tradition”, Foreign Literature Review (No.5 2016): 77-85. [Read at 1st International Conference of Utopian and Science Fiction Studies (FICUS)]《乌托邦传统的矛盾式演进》载《外国文学》(权威期刊)

    A Paradoxical Thomas More”, Shucheng (No.10 2015): 5-12.《双面托马斯-莫尔》载《书城》(上海三联)

    Melancholia and Utopia”, Shucheng (No.10 2014): 87-94.《忧郁症与乌托邦》载《书城》(上海三联)

    Utopia: Text, Rhetoric and a Conundrum of Interpretive”, Foreign Literatures (Vol. 134, No.2 2014): 74-81. [First Prize Thesis Award, National Academic Forum, Foreign Literature Studies]《乌托邦:文本,修辞与阐释难题》载《国外文学》(北京大学,权威期刊,人大复印资料与外国哲学研究所全文转载,获2012全国博士论坛一等奖)

    • Translations

    Fair Game Report: The Endangered Media Space for Foreign Correspondents inside China 2022, International Federation of Journalists, 2022.

    Olivier Krischer ed., Zhang Peili: From Painting to Video, Canberra: Australia National University Press, 2019, four chapters.

    “The Significance of Natural Phenomenon in the Malay and Chinese Peranakan Pantun(s) Message Reflectors”, Journal of Zhejiang University: Humanities and Social Sciences (Vol. 42, No.1 2012): 100-27.

    • Textual Creative Works and Others

    On the Way to an Exhibition”, Arching the Spaces of Anxiety (OCAT), 2 April 2022.《去展览的路上》收入《焦虑的空间档案》OCAT Museum

    Ge Yulu’s Value of Money”, Art Gangsters Club, 26 August 2021.《葛宇路的金钱观》@ 绘画艺术坏蛋店

    Art Now, English Class”; “International Art Residency: Episodes 1&2”, Cell Phone Plays Me, 2017-2018.《爱忒呶:英语课》《国际驻地:1+2》@ 手机玩我(实验艺术平台)

    Disguise and Rhetoric: On Huang Liyan’s Two Paintings”; “The ‘Books’ under the Feet of the ‘Cultural Animals’”; “Is There a Utopia Hiding in the Garage?”, La Jeunesse, 2018-2020.《幌子与修辞:从黄立言的两幅画说起》《文化动物的蹄下之书》《车库里装着乌托邦?》@ 新青年艺术沙龙

    Illegitimate History and Temporary Criticism”, Hi Art, 13 August 2018.《违章的历史与临时的批评》@ Hi艺术(独立批评专栏)

  • When I reached my thirties, especially after attending a pizza party run by Oxford historians (though, some of them thought I was a Japanese high school student), I became aware that my family history in Hunan, Mao’s hometown, was comparatively unhappy, but not unusual.

    My grandpa was the only son born to a ‘landlord’ who was put on a dunce’s cap and stoned to death. My grandma, who was picked for Central Art Troupe but fled, was said to be ‘the sassy daughter of an old bourgeois with his second wife who was over twenty years his junior’. My grandparents discovered they deserved each other, so they worked together in civil engineering, married, and had children. Procedures were screened and approved by local Communist Party members, and some of them, in my grandpa’s words, were ‘illiterate’ and ‘baneful’. My grandma was once sent to a wrecked maternity ward to get an abortion; she fled, again.

    However, my father, whose ‘future’ was utterly smashed by the Cultural Revolution, pursued my mother with great caution: she was an orphan with a trackable peasant background; she was poor but superior in blood to my father; she was adventurous to date my father, who was born with such political stains and deeply humiliated. They were young and good-looking; they had their own romance, or, at least, before they had me. Then, I was born, the only daughter, thanks to the ‘one-child policy’. My mother had an abortion when I was four. She seemed only physically hurt, though she said, ‘It’s a boy’.

    Along with my peers, I was raised in a peaceful new era. We were the cultivated generation called ‘Nation’s Flowers’ or ‘Morning Sun at 9:00’: no history, no memory, innocent, beautifully brainwashed, without any bitter imagination to harm the state’s self-drafted global vision.

    When my grandpa was still a bit optimistic or probing a way of self-anaesthetise, he repeated an old saying in China: ‘Neither wealth nor poverty can survive three generations’. I am the fourth generation since the family’s fall, though, a girl, with no privilege to inherit either wealth or poverty. I own freedom.

    However, my father, a radical critic of any of his father’s feudalistic thoughts as well as his peers’ ‘vulgarity’ but, unfortunately, passed away before his father and peers, kept warning me that ‘this is a cursed land, you can only leave here through real modern education, you must hop out by yourself, alone’. He also stressed that ‘no single snowflake in an avalanche ever feels responsible.’ He seemed cynical and claimed that ‘all men (including himself) are superficial’. When I almost fully grew up, I found it probably because he hid The Picture of Dorian Gray (translation, of course) under his pillow, whereas in his peers’ pockets, there was only Mao’s Little Red Book. He worked for the local justice department as a popular non-partisan and fully unleashed his talents on arranging fishing and Mahjong parties during workdays. He existed as a lively irony to the system.

    When my grandpa was still alive, there was no context for me to understand his frequent traumatic narratives and meaningless mutterings about how ‘kind’, ‘intelligent’, ‘wealthy’ and ‘respected’ my ill-fated predecessors used to be. Most people had no idea or did not care why the old men were cranky before they were really gone. All my relatives joked with my grandpa that, genetically, I am a duplicate version of my grandma: sassy.

    Since I have left there by winning scholarships and having the greatest mentors and supervisors but seemingly not as hardworking enough as those ‘crazy hardworking Asians’, I usually wonder if I am extremely lucky.

    Six years ago, I travelled to my partner’s hometown, an urban village in Shanxi, a historic but economically undeveloped province that houses various unprotected cultural relics. A local Buddhist master was staring at me, seemingly awed by my credentials, despite my partner’s jokes about what a terrible student I was. They were drinking liquor, biting, chewing, and gulping down cold beef dishes — quite unlike those so-called Buddhists. At last, the master said: ‘I can see that your family ancestors’ tombs were very well placed on a mountain, especially opposite the very good orientation, which would only benefit a girl in your family.’

    I remember that master’s face in the dim glow of electric light looked firm and sober. My partner believed. For a while, we lived happily ever after.