2025 Festival Review & Publication of Accounts｜ The 13th UP-ON International Live Art Festival

The UP-ON International Live Art Festival has now reached its 13th edition. It is heartwarming and encouraging to see more and more allies who care, understand, and support what we do. This also urges us, as organizers, to reflect on how we can make the festival even better while staying true to our original intention: to create the finest platform for live art exchange on an international scale. Of course, this is not an easy task—but with so many like-minded collaborators walking alongside us, we have the confidence to achieve it, and to achieve it soon.

UP-ON was founded with a simple question: Who are the most important audiences for this festival? Our answer has always been: university students who study art.

In every edition, we arranged on-campus live creations, workshops, and lectures. The number of participating universities once grew year by year, and then began to decrease year by year—until this year, when it returned to zero.

Reality is reality. We keep doing the work, without sorrow or joy. There’s an old saying: when things hit the bottom, they rebound.

I believe that.

—— Zhou Bin

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FESTIVAL SUPPORTS & TEAM LIST

艺术节支持方

主办机构：UP-ON 向上行为艺术档案馆 HOST ORGANISATION: UP-ON Performance Art Archive

联合主办机构：A4 美术馆、近悦儿童美术馆、浓园国际艺术村 CO-HOST ORGANISATIONS： A4 Art Museum、Jinyue Children’s Art Museum、NongYuan International Art Village

合作支持机构以及个人：爱尔兰现场艺术、爱尔兰艺术委员会、奥地利联邦住房·艺术·媒体和体育部、ASIATOPIA 国际现场艺术节、Bbeyond 现场艺术、成都上城设计事务所、东来艺术、荷兰蒙德里安基金会、曼谷艺术与文化中心、瑞士文化基金会上海办公室、野地單于、尊重地带、 东奴、邓乐、冯晓炜、石晓东、唐勇、王瑞芸、王彦鑫、克里斯汀·斯特拉谢夫斯基(德国) SUPPORTERS： ASIATOPIA International Performance Art Festival \ Bangkok art and Culture Centre\ Bbeyound\ Chengdu ShangCheng Design Office\DONGLAI Art \Live Art Ireland\ Mondriaan Fund for visual arts and cultural heritage \Mr.Tang Yong\ Ms. Christine Straszwski (Germany) \ Mr.DENG Le\  Mr. Dongnu \ Mr. Shi Xiaodong \ Ms. Wang Ruiyun \ Mr. Wang Yanxin \Mr.Feng Xiaowei \Pro Helvetia Shanghai, the Swiss Arts Council \  The Art Council (Ireland)\ The Federal Ministry of Housing, Arts, Culture, Media and Sport （Republic of Austria）\ Z ZONE

支持媒体：画刊、  乐游LETSGO、  人文艺术、  一欣一艺 SUPPORT MEDIA： Art Monthly, LETSGO, Humanities & Art, Yi Xin Yi Yi

艺术节组

项目总监：周斌 Project Director: ZHOU Bin

统筹执行：曾婕 Executive Coordinator: ZENG Jie

工作组：陈雯琦、代舟可、冯飞飞、何乐、刘元韬、李尧瑶、李景明、邵也、孙晓蕾、羡云、小绵羊、邹董懋瑞 Working Team Members:CHEN Wenqi、DAI Zhouke、CODE.3F、HE Le、LIU Yuantao、LI Yaoyao、Jingming 、PENG Cheng、SHAO Ye、SUN Xiaolei、XianYun、Little Sheep、Ray

观察员：陈默、程艾、崔付利、邓乐、邓煜恒、范毛毛、冯博一、黄效融、蒋懿嘉、李振华、刘成英、唐佩贤、田萌、王瑞芸、王文喆、文鹏、查常平、张岚、张意、张欣宇、张颖川 Academic Observers: CHEN Mo、 CHENG Ai、 CUI Fuli、 DENG Le、 DENG Yiheng、 FAN Maomao、 FENG Boyi、 HUANG Xiaorong、 JIANG Yiji、LI Zhenhua、LIU Chengying、TANG Peixian、 TIAN Meng、 WANG Ruiyun、 WANG Wenzhe、 WEN Peng、 ZHA Changping、 ZHANG Lan、 ZHANG Yi、ZHANG Xinyu、ZHANG Yingchuan

At 2 pm on October 18th, the 13th UP-ON International Live Art Festival opening ceremony was held in JinYue Children’s Art Museum. Speakers included:  Judy (ZHU Zhu) – JinYue Children’s  Art Museum Director, ZHOU Bin- UP-ON festival representative, ZENG Jie- UP-ON working team representative, Joseph Baan and HU YingChao – artist representative, WANG Ruiyun- UP-ON observer representative.

Materials: Artist’s body, microphone, white paper, red marker. 

The artist stands with his back to the corner, pressing his body against the walls while muttering to himself in a confined space. The physical space is extremely narrow, compressing his field of vision into a reflection on the relationship between society and the individual. He speculates aloud about the audience’s possible gaze and judgments—whether they find it boring, whether they are anticipating what they think “performance art should be,” whether they are evaluating the artist’s identity and social position—and jots down keywords in red marker on the wall. It is a self-examination before being examined.  This monologue gradually transforms into a reflection on “seeing and being seen.” Using language as the core of the action, the performance exposes the irreversible and non-omissible nature of self-exposure. By rejecting conventional “action,” it questions: What is “performance”? What is “seeing”? What is an “artist”?

 A Cornered Artist employs minimalist physical gestures and stream-of-consciousness language to depict an individual wavering under external observation and introspection—reflecting on the art ecosystem, networks of acquaintance, evaluation mechanisms, and physicality. It is an act of staring into a corner, yet attempting to see through the wall.

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Love Sick Heretics is a performance piece in three acts. It is loosely based on the 14th-century Christian mystic Marguerite Porete’s Mirror of Simple Souls — a seven-step instruction on the annihilation of the self through devotion, the emancipation from fixed rules and morals, and by doing so, the invitation of God into oneself.

LSH investigates performative modes of devotion, the power relations within devotion and submission, and devotion as a process of liberation at the same time.

The piece is conceived as a solo performance — or, if you will, a duet with a bass amplifier. The three acts are structured around shifting relationships between myself as performer and the bass amp. Through voice, microphones, and feedback, these modes of relation — from submission to liberation — are explored and negotiated.

Artist supported by Pro Helvetia Shanghai, the Swiss Arts Council：

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At 2 pm on October 19th, the 13th UP-ON International Live Art Festival opening ceremony was held in A4 Art Museum. Speakers included:  WANG WenZhe- A4 Art Museum representative, LIU Chengying- UP-ON festival representative,  Little Sheep- UP-ON festival working team representative,  PARK Juyong and DING Ling- artist representative, LIU GuiCheng – critic representative,  CUI FuLi- UP-ON observer representative.

In Secret Distortion, Deej Fabyc—founder and CEO of Live Art Ireland and a performance, video, and installation artist with over 40 years of global practice—created a multi-layered work that transformed public space into an intimate theater of transformation and vulnerability. Working with a Toyota Highlander as both a cinema and a performance stage, Fabyc engaged with life-changing narratives from artists participating in the UP-ON festival and local Chengdu artists, including their own near-crash plane experience. The resulting film, translated into both English and Chinese, was screened to six people at a time in five-minute slots, the car becoming a mobile cinema while Fabyc performed outside.

This durational performance addressed questions of gender identity central to Fabyc’s practice since their work with the underground feminist art collective JILLPOSTERS in Melbourne in the 1980s. Determinedly non-binary, Fabyc intertwined humor and critique, performing what they describe as the “Cis femme image of a woman on the bonnet of the car”—a playful yet pointed intervention into gendered expectations while expressing femininity on their own terms.

As Frances Mezzetti observed, “Deej commanded the plaza outside A4 Art Museum as they firmly directed the swell of the audience away from cramming to get inside the car. This performance was on Deej’s terms, inviting participation from the audience.” Mezzetti witnessed Fabyc’s transformation in real time: “Daily life – undressing, dressing, teeth brushing, fringe cutting and make-up applying – these actions were interspersed with displaying the red clad body on, against, over the car structure.” The performance embodied Fabyc’s ongoing engagement with “wicked embodied mapping” of narratives around awkwardness, neurodiversity, aging, loss, mental health, and chronic illness.

The work demonstrated Fabyc’s sophisticated understanding of space and audience. As Mezzetti notes, the “Car acted as a temporary home with many associations and narratives. Inside, it became a theatre, for us who were fortunate to have a brief witnessing of the screened story givers.” Meanwhile, Fabyc held “a strong presence transforming their appearance to vibrant red in full view,” creating a dual experience where “As they performed, the body conveyed another story personal and evocative.”

Significantly, Mezzetti observed how “Some tourists were busy with their own projected selfies perhaps unaware of how they were adding to the transformation unfolding in their midst”—suggesting how the work navigated between spectacle and intimacy, between the local and the global, creating a “transformation unfolding” in which all present became participants.

Secret Distortion exemplifies Fabyc’s highly collaborative practice—evident since their founding roles in artist-run initiatives including Elastic Residence in London and their current work with CERBERUS, a performance collective formed in 2024 with Rachel MacManus and Olivia Hassett—while maintaining their fierce commitment to work that addresses marginalized experiences and challenges conventional boundaries.

Acknowledgments: With thanks to the entire UP-ON Festival team, the artists who shared their stories on film, and particularly Isabella Liu for the translation of the subtitles.

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At 2 pm on October 21st, the 13th UP-ON International Live Art Festival opening ceremony was held in NongYuan International Art Village. Speakers included: Xie Boyuan – NongYuan International Art Village representative, Liu Chengying – UP-ON festival representative,  LI JingMing- UP-ON festival working team representative, Yoshiya Yoshimitsu and WEI MingYi – artist representative, Chen Mo- UP-ON observer representative.

The aim was to focus on listening to and coming from the heart. Preparation:  Each morning, I could hear the leaves being swept from the overhanging veranda roof.

Staff went about with the daily maintenance of running the hotel, changing linen and restocking the kitchen. Performance art for me is part of daily life and the interaction between people and the local environment.  These elements form the basis of what will be a spontaneous series of actions during the public performance. The preparation involves a collective participatory inscribing of terms of endearment on a length of muslin fabric. Artists, UP-ON team members and some local people write in their own language and style their words of affection and love. A separate piece of fabric carries their signatures. The third fabric of muslin brought from Ireland carries many words of love in the old Gaelic (Irish) script. 

To represent the workers, a red tunic was retrieved from the recycling centre along with a cooking pot, soap and a scrubbing brush.

The chosen location, a wooden slatted pathway by the pond, in NongYuan International Art Village Zone A, provided the elements of plant life and water. The performance: The twisted, snake-like fabric is worn on the head. The names of the participating inscribers are worn over the red uniform jacket. Placed on the boards is the third fabric folded on the path.  Cooking pot, scrubbing brush and soap are laid in readiness for employment during the performance.

Isabella assists in the unwinding of the “snake,” revealing the patterned love words used in an almost lost Irish language. This action and movement by the mossy mound evokes a feeling of sadness, which is given expression in tears and heaving. The plants seem to appease the spirit as they accept the garment of names. Words fall out about not wasting time over and over as the scrubbing becomes more frantic with the mud gathering from the brushing. A cleansing in the pond water releases, and the empty pot sits between the thighs. Sheila, the Hag, or ancient one of wisdom, is given voice. She inspires the unfolding of the terms of endearment fabric. This final piece is drawn to meet the Irish script and then overlaps and merges the languages and the lands that are contained there.  

PARK Juyoung lives a life that navigates the boundary between sound and silence, contemplating the role of art through interactions with others. The act of inscribing text onto Park’s body becomes part of a life that communicates through the artist’s words—traces of dialogue that connect to society. The body, objects, and relationships with the audience are deeply interconnected. 

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Dedicated  to Yama Kowa and the human condition 

Before people enter the upper space, the soundscape MANTRA MANTRA is heard, broken umbrellas are scattered around, historical objects on the table and circling EARTHLING, the first texted boomerang, in slow pace.

SMILING to the incoming crowd one by one. Approaching the table with historical objects; black boomerangs, other than EARTHLING, are texted with MEATJOY, CROSSFIRE and SPIRIT are subsequently presented by SMILING to people and situated on the floor.

The brown boomerang reads NOTHING on the one side and in Chinese on the other; is presented as the last one and laid down as well.

The following series with white handkerchiefs [texted with HOPE and XIWANG] are also shown SMILING and placed close to the seated people, as PYRAMIDS OF HOPE.

The last action consists of showing a smeared shirt with EYES WIDE OPEN to everybody around [SENSING THE DEAD] and lay it down in front of me. Slowly covering it with my body [CONNECTING TO THE DEAD], with one foot TOUCHING HOPE and EARTHLING. Closing position is next to the table with hands together [PRAY]. 

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The problematics of the performance, THE CONCEALED CONTENTS: Marks, Crumbs, Episodes, essentially oscillate around two issues: the status of the performance and the control of meanings and associations linked to the action.

For me, performance is first and foremost sculpture. I treat it as a process of shaping form that accounts for spatial, affective, and social relations, where the phase of construction is no less important than the phase of destruction. I am strongly drawn to experimenting with the performance formula—blurring and shifting its boundaries.

By delegating fragments of my action to two young men, Wu Ziwei and Gan Zhipeng, I create a framed (nested) composition, so that during my performance another performance unfolds—one I direct before the audience and then, a moment later, watch myself—showing the viewers myself watching my own performance. This situation serves as a model, a quasi-maquette revealing the role of tension and suspense in performance actions, viewed from a position of ironic distance.

A moment later, I invite the audience into another room, where—dressed in a white painter’s overall—I wait for them. Using a white stencil, I paint a white inscription on a white wall. Large, almost invisible letters arranged in three lines form the words “Marks, Crumbs, Episodes.”One might assume that these words are the key to understanding the action; yet we may surmise that we are dealing with rather accidental sets of traces, crumbs, and (it is not clear which) episodes. The next part of the performance begins in the adjacent room, where the audience sees a structure rising up to the ceiling: a table and two chairs stacked on a heavy steel kitchen cabinet, upon which dozens of ceramic objects—plates, bowls, cups, teapots, etc.—were piled up. A crucial aspect of this section, based mainly on dragging the cabinet with a thick rope into the next room, was the anticipation of an inevitable catastrophe. Pulled across the floor, the metal furniture entered into vibration, resonating with a loud tremor. Every centimeter covered brought the structure closer to the moment when it would crash down with a great bang. This was to be a catastrophe already foreshadowed in the delegated action. There, we saw stacks of vessels falling from high, held in the hands of Wu Ziwei and Gan Zhipeng. Here, the catastrophe was to be much more spectacular, loud, and frightening.

After the entire structure crashed to the floor with a great bang and the steel piece of furniture was dragged into the second room, I lay on my back and, pushing myself with my legs, drew with my body several random lines on the floor strewn with shards of broken dishes. Continuing this movement, I found myself back in the room with the white inscription. The paint had already dried, and the text became almost invisible. Concluding the action, I photographed myself with a Polaroid against the white wall and, in the final gesture, hung the photograph on one of the letters of the inscription, allowing the initially white print to reveal, before the audience’s eyes, my dark silhouette against the white wall.

The question of meaning and message is crucial for me. I share Roland Barthes’s position from the essay “The Death of the Author”: the source of meanings is the viewer. The role of the artist is to provide carefully selected elements that the viewer fills with their own content. My work on form simultaneously aims for the props and gestures to create a mutual context, thereby increasing the semantic capacity of the elements and gestures used.

Thus, the “temporary sculptures” created during the performance are not so much sets of objects as configurations of relations: between balance and its loss, visibility and its vanishing, expectation and the fulfillment of expectation. As a continuator of practices rooted in Dada, Fluxus, and Conceptual Art, I use strategies of reduction, deconstruction, and working with context: instead of narrative, I introduce systems of tension, a choreography of gestures, and non-narrative sequences of events. In this model, “control” does not mean specifying a single sense but designing a field of interpretation, leaving it open.

FANCY LIFE took place at the Art Village in Chengdu, on a wide and vibrant meadow that carried a special, almost sacred energy. Originally, I had imagined a clean, white indoor space for the performance — a neutral container for movement, material, and transformation. Yet when I discovered this meadow, something shifted. It was open, alive, and full of memory. A wedding had taken place there not long before, leaving behind an atmosphere of intimacy and human celebration. The place felt charged — like a Kraft-Platz, a site of natural power. I felt immediately drawn to it.

The performance began with a solitary entrance. Hidden from the audience, eleven performers — men and women — had gathered half an hour earlier, preparing in silence, unseen. I entered the meadow alone, wearing a light green, fairy-like dress that blended with the grass and trees around me. In my hands I carried a large red plastic bag filled with smaller pink and yellow plastic bags.

As I stepped into the open space, I opened the red bag and began to scatter the pink and yellow ones across the grass and around the trees. They floated and settled like strange blossoms — artificial petals of plastic that shimmered in the natural light. This act of scattering became a symbolic gesture: a dialogue between nature and the synthetic, between what we create and what we leave behind.

Then I turned toward the structure at the edge of the meadow — a simple, open-air stage framed by trees and sky. From behind it, I brought the performers into view. They were gathered beneath a military camouflage net, which I held and pulled behind me. Slowly, I led them forward across the meadow. Together, we moved like a single organism — a long, breathing form that resembled a dragon gliding through the grass. The contrast between my light green dress, the camouflage net, the natural surroundings, and the colorful plastic bags created a visual harmony: a living painting of texture and tone.

When we reached the center, I stopped and carefully lifted the net, freeing the performers one by one. Looking at them, I said softly:

“I guide you to your place.”

Each performer was led to a unique spot on the field. Their everyday grey clothing contrasted with the colors of the landscape and my dress. When we reached their spot, I placed my hand on each forehead. In response, they slowly sank to the ground, curling into an embryonic position. The gesture carried tenderness and ritual — an invitation to stillness and surrender.

After all had descended into their places, I returned to each performer again, this time with a small plastic water bottle. I touched their forehead lightly with it, then unscrewed the cap and poured a small amount of water over them — a gesture of baptism, renewal, and connection. Many instinctively opened their mouths, receiving a few drops of water directly. These moments felt intimate and sacred — the meeting of the artificial and the elemental: plastic and water, ritual and care.

Gradually, the performers began to move. Their gestures were soft and hesitant at first, like newborn beings discovering their bodies for the first time. They explored their surroundings, touched their faces, and then began to perceive one another. Slowly, curiosity and empathy emerged. They reached out, gently touching, forming connections, and moving together in a slow, fluid dance that grew into collective awareness.

I watched from a distance — swinging softly on a nearby swing, climbing the scaffolding of the open-air stage, and observing from above. From this perspective, I saw my creation come to life — tender, fragile, and full of grace.

When the performers gradually gathered again in the center, I descended. I spread the camouflage net once more, covering them collectively, and began to pull them away — the net flowing behind me, the group moving as one large, breathing body. Together, we disappeared behind the structure, the “dragon” leaving the field.

The meadow remained quiet. Only the pink and yellow plastic bags — the scattered blossoms of FANCY LIFE — were left behind, forming a delicate, glowing image against the green grass. The audience stayed silent for a long time, visibly moved, before gentle applause began.

FANCY LIFE became a meditation on transformation, connection, and material memory. The military net — a tool of concealment — turned into a fabric of unity. The plastic, often seen as disposable, became vibrant matter of color and light. The work explored the tension between nature and the artificial, solitude and collectivity, ritual and renewal.

For me, FANCY LIFE was both a personal and shared experience — a living image of care, tenderness, and rebirth within a landscape that embraced us completely.

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JinYue Children’s Art Museum/Closing Party

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Daily Cut Mounment

Carlos LLAVATA(Spain)

卡洛斯·亚瓦塔(西班牙)

Carlos Llavata is a Spanish artist known for his visceral, performative approach that explores the intuitive and spiritual aspects of the human condition. With a background in performance art, sculpture, and experimental theater, his work often unfolds in spontaneous, site-specific actions that engage audiences directly. Trained at the Gerrit Rietveld Academy in Amsterdam, Llavata uses presence, gesture, and energy as central elements in his practice. He has participated in numerous exhibitions, festivals, and collaborative projects across Europe, Latin America, and Southeast Asia. 

He studied at the Ceramics School of Manises (Valencia), earned his degree at the Faculty of Fine Arts of Valencia, and completed further studies at the Gerrit Rietveld Academie (Ceramics Department) in Amsterdam. He also trained in graphic arts and muralism in San Francisco, California.

His artistic journey has taken him across the globe, participating in performance festivals, exhibitions, and international art fairs. His work has been presented at: ARCO Madrid, Spain/Art Amsterdam, The Netherlands/Chile Performance Biennial, Chile/Solo exhibition at Lostgen’s, Malaysia/HYAP, Helsinki, Finland/Observatori, Valencia, Spain/Hangar, Barcelona, Spain/Bilbao Art District, Spain/RITES, Singapore/New Art Contact, Helsinki, Finland/Interackje, Kraków, Poland/Zé dos Bois, Lisbon, Portugal/La Noche en Blanco, Madrid, Spain/La Muga Caula, Girona, Spain/Flax Art, Belfast, UK/Nashan, Hanoi, Vietnam/CCCC, Valencia, Spain/UpOn, Chengdu, China/Cement Park, Explot studio, Yokohama, Japan/ Changing Room, Kuala Lumpur, Malaysia.

Christine STRASZEWSKI (Germany)

克里斯蒂娜·斯特拉谢夫斯基(德国)

Christine Straszewski is a German interdisciplinary artist bridging performance, installation, and visual media. Rooted in design studies and Polaroid Hochschulaward, she explores frameworks and connections through film and interventions. A 2016 Beijing scholarship expanded her scope. Since 2013 with RUBRECHTCONTEMPORARY, she develops her FANCY COSMOS internationally. The artist creates performances at the intersection of Fluxus, spirituality, and the absurd. Her works are synaptic gymnastics – playful rituals between body and space, where the ordinary transforms into poetry. She summons the inner child, ever curious, ever open, and seeks to bring bliss into the world: fleeting moments of pure vitality that expand perception beyond the familiar.
Her artistic journey has been deeply shaped by connections to China. She presented her works in Beijing’s 798 Art Zone, received a fellowship with Shen Shaomin, and participated in a performance symposium led by Prof. Cai Qing at Tianjin University. From these encounters grew a long-term collaboration with curator Juan Xu, who continues to accompany her projects.
Her performances unfold in the immediacy of the moment. Co-performers enter without preparation and experience sensual, astonishing encounters with their own bodies – events that transform perception and open new inner landscapes. Today she is represented by Rubrecht Contemporary in Wiesbaden, where she creates works that act as portals: intense, surprising, and imbued with baroque sensuality.

Dariusz FODCZUK(Poland)

达瑞乌什·福德楚克(波兰)

Dariusz Fodczuk (born 1966, Poland) – visual artist, performer. A graduate of Maria Curie-Skłodowska University in Lublin and the University of the Arts in Poznań. His work focuses on the status of art, particularly sculpture and performance. His projects examine the relationships between the creator, the audience, and the artwork, redefining their mutual dependencies. These explorations are reflected in performance cycles such as Gra as well as in the long-term cycle Sleeping and Lying Down, based on shared physical presence and intimacy. Many of his works are autobiographical, drawing on the life stories of his mother and father, and exploring intergenerational memory as part of the performative process.

From 2020 to 2024, he served as Dean of the Faculty of Media Arts, Photography, and Experimental Film at the Academy of Art in Szczecin. Since 2016, he has co-led the Studio of Audiovisual and Performative Actions with Kamil Kuskowski. He has participated in over 200 festivals and group exhibitions and more than 40 solo shows across Poland, Europe, North America, and Asia.

“I identify as an interdisciplinary artist working at the intersection of performance, sculpture, speculative design, and new media. I focus on questions of freedom and dignity; for many years, I have pursued performance-based work grounded in an original program of resisting institutional and artistic control. Theoretically, my practice is underpinned by inquiries into the spectator’s role as the locus where meanings are updated and generated.”

Web: https://dariuszfodczuk.eu

Deej FABYC (Australia&United Kingdom）

迪姬·法比克(澳大利亚&英国)

Deej Fabyc, a performance artist working at the intersection of trauma, embodiment, and social transformation. As Executive Director of Live Art Ireland – Elain Bheo Centre for Art Research and Development at Milford House since 2020, she champions experimental live art practices that challenge conventional boundaries. Through Live Art Ireland, she fosters a research hub where artists can take creative risks and explore urgent contemporary questions. The organisation supports uncomfortable, necessary, transformative work that refuses traditional frameworks. The Centre serves as both laboratory and sanctuary for radical art practices, hosting international collaborations and providing residencies that extend artistic possibilities. Her practice centers on “wicked embodied mapping” of narratives around awkwardness, neurodiversity, aging, loss, mental health, and chronic illness. In early 2024, she formed CERBERUS, a performance collective with Rachel MacManus and Olivia Hassett. Drawing on Greek mythology, they position themselves as gatekeepers between worlds – “three individuals who join as one, bound together as three heads representing loyalty and vigilance, remarkable strength and ferocity”. Their recent work H(u)RT addressed women’s health issues, specifically the government’s mishandling of the HRT medication rollout. 

Her current projects include Portach Promenade, a collaborative grief walk in a bog currently in production as a feature-length art film, and performances at venues from the 1927 Gallery Athens to Rua Red Gallery Dublin through the Rerooting Tallaght festival. Her international career spans museums, nightclubs, and streets since the 1980s, including collaborations with Annie Sprinkle and Beth Stephens at Documenta in Athens and Kassel. Recent performances include the Highlanes Gallery Drogheda with Bbeyond in 2022 and ‘How do I look’ with GraceGraceGrace at Guest Projects London. She has held residencies at Artsadmin London, Dartington School of Art Devon, Cite Internationale des Arts Paris, and A Space Gallery Southampton. Significant performances include Details at L’abracada Festival International d’Art Contemporani, Castell de la Bisbal, Spain 2006; And She Watched at Trace Installation Artspace Cardiff 2005 and Kingsgate Gallery London 2004; and Don’t Call it Performance at Centro de Arte Reina Sofía Madrid and Centro Parraga Murcia, Spain 2003. 

As a founding member of feminist collectives including JILLPOSTERS and current Chair of FBI artist network, she works to create infrastructure for marginalized practices. Now based in Tipperary and working full-time as Director of Live Art Ireland, she continues asking: How can art create space for experiences that have been marginalized? Through her dedicated focus on Live Art Ireland and her performance practice, institutional leadership and radical art-making inform and sustain each other.

Web：https://www.fabyc.co.uk

Live Art Ireland web: http://live-art.ie/

Frances MEZZETTI (Ireland）

弗朗西丝·梅泽蒂(爱尔兰)

Frances Mezzetti is a full-time visual artist based in Dublin, Ireland, and a graduate of the National College of Art & Design. With over twenty-seven years of experience in visual art and movement practices, her work spans performance art, site-specific installations, film, and vocal soundings. Her socially engaged practice involves working with communities and schools across Dublin City, drawing on personal and collective stories to create works rooted in lived experience. Ritual storytelling and a deep connection to movement in nature form the basis of her ongoing research and creative exploration. Collaboration with diverse artists and communities continues to play a vital role in expanding her artistic expression. Frances is a member of Live Art Ireland and has participated in numerous events and performances with the group. From 2009 to 2024, she co-created the long- running performance series Walking in the Way with Pauline Cummins, with performances in Scotland, London, Madrid, Seville, Istanbul, Malaga, and various cities throughout Ireland, North and South. The project culminated in a gallery tour and the publication of the book Walking in the Way: Performing Masculinity – Cummins & Mezzetti (walkingintheway.net). Between 2008 and 2015, she was a member of the Performance Collective, an innovative live art initiative that produced performances across the island of Ireland. Notably, she participated in fourteen consecutive days of durational performances at the Galway Arts Festival in 2012. Her work and contributions are featured in Performance Art in Ireland: A History, edited by Dr. Áine Phillips (2015). Other notable collaborations include performances with Bbeyond Northern Ireland and international projects such as Transaction 11 with Mobius in Boston, USA (2018). From 2017 to 2022, she worked on a five-year collaborative project with artist and filmmaker Joyce Garvey, exploring the life of Lucia Joyce—contemporary dancer and daughter of James Joyce—through residencies, performances, and films in France, Switzerland, and Italy, culminating at the James Joyce Summer School in Trieste in 2022. Most recently, Frances completed an experimental analogue film collaboration with Juana Robles in 2025, available to view here. Her work is supported by The Arts Council of Ireland, Culture Ireland, Dublin City Council, Age and Opportunity Bealtaine Festival, Bbeyond, and the pilot project BIA (Basic Income for Artists).

Web: https://www.francesmezzetti.com/about/

Joseph BAAN  (Netherlands & Switzerland)

约瑟夫·班(瑞士&荷兰)

Joseph Baan is an artist and educator. Their practice engages in art, education and collaboration as ways to forge creative survival.

They’re interested in the complexity of collectivity and in the possibility of establishing a solidarity that does not homogenise, but affirms difference. They make performances, installations, texts, group works, collaborative formats, and scores that aim to unpack the problem of relating, shifting roles and readings of power and control in relation to affect and gestures of care. They see performance as a way to become receptive to one’s own alterity when relating to others, offering the possibility to have embodied experiences that one does not identify with. Joseph is currently engaged in a PhD research at the Zürich University of the Arts and Mozarteum in Salzburg that investigates the political currency of incoherence and performative strategies of ambiguity, dissociation, and confusion, asking what aspects of performance might angle towards liberatory or non-sovereign politics and possibly negotiate or abolish the constraints one is born into.

Joseph’s practice is closely linked to their work as an educator, which is influenced by experimental and radical pedagogies and non-hierarchical collaborative methods. They are a founding member of Rotterdam-based research group SOHERE; a community of practitioners working in the fields of art, design and science who develop collaborative, horizontal learning environments. From 2019-2022 they co-ran Zurich based School of Commons; a grassroots initiative dedicated to the study and development of decentered knowledge, with a focus on practices of peer learning and commoning. They teach critical theory and performance at the Chair of the History of Art and Architecture at the ETH in Zurich.

*Supported by Pro Helvetia Shanghai, the Swiss Arts Council

Web: https://josephinebaan.com/

Juyoung PARK (South Korea）

朴珠泳(韩国)

Based in Seoul, Park Juyoung adapts to the times with the development of various communication technologies, ranging from brushtalk to text messages on social media and voice-to-text apps, and uses these to communicate and work in her studio. Starting with questions about  “communication,”  she has shifted to the subjects of “voice” and “language” and their invisible nature, and is expanding her practice in various media, including drawing, performance, and installation.

Park Juyoung wears a cochlear implant to communicate with society. At the end of her day, Park removes her prosthetic device and enters a life of soundless darkness. In this way, she questions her identity, constantly moving back and forth between sound and soundlessness.

Park’s works are about seeing sound through visualization. Starting from her early performance piece, Confess to Me (2003), her oeuvre has primarily dealt with sound and communication, including the work Do You Hear (2015), Reading Scripture to a Cow’s Ear (2019), Understanding What Others Say (2021), and Sound Shapes (2023). Specifically, these include: making drawings on paper and tearing them up, urging viewers to write letters on her body as she communicates with them, and pasting stickers on bodies after listening to a sound. Park investigates the voice’s linkage to the body and unfolds the resulting interactions in mass, color, and form.

Following the COVID-19 pandemic in 2021, she became interested in the “unattended voices” in areas such as society, politics, and disease, and concluded that, in life, soundlessness was the same as nonexistence. In her works, the objects move toward where the body is pointing, and the phenomena resulting from tactility become physical variations in nature. Just as life is imperfect, Park’s attempts remain unfinished. Every process in her studio practice is achieved by undergoing failure, and through these processes, Park bears responsibility for her self-identity.

Web:https://jypk.weebly.com/

Lisa HINTERREITHNER (Austria）

丽萨·因特莱特纳(奥地利)

Lisa Hinterreithner is a performance artist, who lives in Vienna, Austria. In her works she intertwines bodies and materials and is on the lookout for experimental performance formats that address humans and more than humans likewise. She often invites the audience, performers and objects to be part of a joint performative process. Recently, she has explored touch and touchability, specifically between plants and humans. Lisa Hinterreithner’s performances have been shown among others, at Tanzquartier Wien, donaufestival Krems, ImPulsTanz – Vienn.

Web: https://www.lisahinterreithner.at

Luc HÄFLIGER (Switzerland) 

吕西·哈夫利格(瑞士)

Luc Häfliger(they/them) is a Zurich-based composer, performer, and sound artist.

Their practice revolves around the question of how we can recode space through sonic experience. Through the lens of noise, they explore sonic and performative states in which the boundaries between control and ecstasy become fluid. Their works seamlessly weave together composition and improvisation. They are a founding member of Doxa Shroti, a collective that organizes monthly guerrilla concerts in underpasses—acts of listening and community-building within Zurich’s experimental music scene.

As a collaborator, Häfliger regularly performs and composes alongside Joseph Baan, maintaining an ongoing dialogue with Baan’s performance and visual arts practice. They also work closely with Margaretha Jüngling, creating sonic environments for her multisensory performances.

Häfliger’s work has been presented in both national and international contexts, including les Urbaines, Drifts Festival Helsinki, Kunsthalle Zürich, Kunsthalle Baselland, Tanzhaus Zürich,  ZKM Karlsruhe,  LAC Lugano Arte e Cultura, and various performances in Yogyakarta and Taipei.

*Supported by Pro Helvetia Shanghai, the Swiss Arts Council

Peter BAREN (Netherlands）

彼得·巴伦(荷兰)

Born in 1954, the Netherlands. Based in Amsterdam and works on performances and other presentations. He studied at the Rijksakademie in Amsterdam. Since his first public performance his work has been shown frequently in the Netherlands and from the mid-eighties at an international level. Baren’s work is often collaborative. At an early stage he worked with a.o. Stuart Sherman- performance artist and filmmaker, Koos Dalstra / Dalstar- criminologist and poet, Truus Bronkhorst- dancer and choreographer.

He was one of the recipients of the PRIX DE ROME Art & Theatre. Baren’s multimedia practice includes both site-specific and public performances. He uses video both for documenting these performances and to create works which are more medium-specific examinations revolving around the history of mankind, cultural objects and public spaces. Many of Baren’s pieces revolve around the notion of ritual and the way it functions in various socio-cultural contexts.

The UP-ON performance THE GIFT [HIGHER GOALS] is part of the ongoing series BLIND DATES WITH THE HISTORY OF MANKIND, as a multi-sensory work, searches for a common ground between sensual bewilderment and operational suffering, challenging the constructed nature of our ideas on mindfulness, memory and territories.

Selected performances and presentations include:TRANSMUTED. Ex Teresa Arte Actual, Mexico City MX / GUANGZHOU LIVE #1. 53 Art Museum, Guangzhou CN / STAGE IT! Stedelijk Museum, Amsterdam NL / BLURRR. 5th Biennial of Performance Art. Tel Aviv IL / VERBO #12. Mostra de Performance Arte. Galeria Vermelho, Sao Paulo BR / Fractured Bodies. TEMPTING FAILURE #18. Biennial of Performance and Noise, London UK / ART ROTTERDAM. Rotterdam NL / Primera Trienal Internacional de Performance DEFORMES. Santiago de Chile CL / UP-ON Live Art Festival 2008 – 2020. Lushan Art Museum, Chengdu CN / Peras de Olmo ARS CONTINUA, Buenos Aires AR / 12 COLOURS OF REALITY. Slovak National Gallery, Bratislava SK / EXPANDED SCENOGRAPHY, PERFORMANCE AND PUBLIC SPACE. National and Kapodistrian University of Greece, Athens GR / WHISPERING SKINS. FLAM Live Art Amsterdam NL / PARADOXAL #3. AMBIGUITY. CCN Centre National Choreografique, La Rochelle FR / STARPTELPA Performancefestival. Zuzeum, Riga LV /

*The performances and lecture for UP-ON #13 are generously supported by Mondriaan Fund for visual arts and cultural heritage.

Web: https://peterbaren.com/

Vichukorn TANGPAIBOON(Thailand)

维楚康·唐派布恩(泰国)

Vichukorn Tangpaiboon is a performance artist and has served as the Artistic Director of the ASIATOPIA International Performance Art Festival since 2020. He began his performance art work in 1999 and has regularly exhibited at performance art festivals both in Thailand and internationally, including Singapore, Laos, Croatia, China, Myanmar, Japan, Sweden, France, India and Indonesia. His work often relates to social, environmental, and political issues connected to communities and public spaces.

Yoshiya YOSHIMITSU (Japan）

好光义也(日本)

Performance artist. Born in Shiga Prefecture in 1994. Graduated from the Department of Aesthetics and Art Studies, Faculty of Letters, Doshisha University in 2019. Completed the Master’s Program in Fine Arts, Department of Intermedia Art, Graduate School of Fine Arts, Tokyo University of the Arts in 2022. Major exhibitions include “Something Uncertain Emerging from the Body” (Mikke Gallery, Tokyo, 2025, two-person exhibition with Tong Wenmin) and “Object Theater | Yoshiya Yoshimitsu” (The 5th Floor, Tokyo, 2023). Major performances include “To Chiyo, to Ms. Yachiyo” (I’m Here Project, YPAM 2022 Fringe, Yokohama, 2022) and “#Accompaniment” (Altitude Training Studio SORELA, Art Rhizome Kyoto 2023, Kyoto,2023). In addition to his own works, he collaborates, performs, and assists with other artists both in Japan and abroad, including Hirotaka Fukui (Kyoto), Dick El Demasiado (Netherlands), and Iannis Zannos (Greece).

Yoshimitsu creates works using a variety of media, including theater, dance, puppetry, singing and instrumental performance, video, drawing, and collage. By placing his own body and expression between the audience and objects or information, he emphasizes their textures and sense of dissonance. While drawing on the unique qualities of each medium, he expresses them with humor and deliberate artificiality, thereby prompting the audience to become aware of the characteristics and components of each medium. He is interested in the performative nature of everyday life and incorporates it into his works. Although his works often appear eccentric or bizarre, he does not seek to sharpen his attitude into extremity.

In Japanese, there are the words “Beta” and “Neta.” The former refers to a state of taking something entirely at face value, while the latter indicates a state of belief that carries performativity and includes a sense of artificiality. Yoshimitsu treats various media, subjects, and motifs as “Neta,” attempting to embed within his works a multiplicity of perspectives that cannot be reached through “Beta.”

DING Ling (Shanghai&Luoyang,China)

丁澪(上海&洛阳)

DING Ling is an independent artist, director, and writer, with a double master’s degree in Contemporary Art Practice and Information Experience Design from the Royal College of Art. Born in Luoyang and currently based in Shanghai and London.

Ding’s work focuses on the emotional tension evoked by the authentic and fluid experiences of life. Her artistic practice and research encompass Time-based Media, including film, video art, performance, theatre, installation, etc. Her works often begin with text and light, using natural elements as metaphors for life experiences, creating spaces that preserve the traces of memory. Alternatively, she explores the process of events through the body as a medium, frequently portraying walking in Non-site-specific landscapes. These works express themes of wandering and unease, loss and fade, heaviness and lightness, fragility and resilience in poetic opposition within Non-linear Narratives. Sometimes she also engages in activities through Artist-curated Exhibitions.

Ding’s works have been exhibited at the Tate Modern, London; Pioneer sound venue Iklectik Lab; Aranya Theatre Festival; New Youth Experimental Art Biennale; Shanghai Westbund Theatre and many renowned international public venues.

DONG Nu (Xining,China)

东奴(西宁)

Artist-in-Research/Art Education Researcher/Curator/Designer

Born: 1973, Qinghai, China

Education: Department of Fine Arts, Qinghai Normal University

Profession: Educator“The work is like skin, peeling off layer by layer at any moment. Through this shedding, life retains its sense of renewal. In the blink of an eye, it becomes nothing more than a trace of the past… Living in a remote corner of a barren land, one deeply feels the constraints brought by delay and numbness. Yet, there remains a fragile thread of connection to the surging world; from here, one must move forward without hesitation—spending a lifetime to approach civilization.”

HU Yingchao (Shanghai,China)

胡应超(上海)

HU Yingchao (Chorin HU) is a Shanghai-based interdisciplinary artist working across dance, theater, performance art, poetry, and video creation. Using the body as poetry, he explores the boundary between the ordinary and the extraordinary in contemporary art, skillfully constructing a unique artistic language through movement, sound, installation, and other multimedia forms.As a dancer, he won the 2017 reallife Street Dance Challenge Championship and has been frequently invited to judge international dance competitions. In 2024-2025, his choreographic work Shell was selected for the SIDCT Contemporary Youth Dance Biennale Showcase and the Chinese Dancers Association Young Artists Cultivation Program, demonstrating his distinctive and innovative dance vocabulary. In theater, he directed and performed in immersive productions such as Right-Angled Body, Illusion Infatuation, and Yes Yes, blending poetry, motion-capture visuals, and improvisation to explore social issues and individual identity.His performance art practice (e.g., Time in the Wind) emphasizes the interaction between the body and the environment, challenging traditional art forms in a poetic manner. His video work Banana Boat received the Best Experimental Effect Award at the 48-Hour Film Festival, and his short film The Psychic was selected for the American D2D Film Art Festival. In 2025, he published his poetry collection Yingchao’s Poems, further expanding the dialogue between text and the body.

LI Duo (Hangzhou,China)

李多(杭州)

Li Duo lives and works in Hangzhou.
She is a multidisciplinary artist whose practice spans performance, theater, video, installation, and sound.

Li Duo approaches the body as a sensory interface that penetrates the structures of reality. Through dynamic actions embedded in established orders, she transforms herself into a fluid variable. Her practice focuses on the sense of position and marginality of the individual within collective structures, exploring the logic of play and the distribution of power within mechanisms of interaction.

Using methods of persistence and low-energy intervention, she leaves temperature-like traces in everyday public space. These subtle disturbances act as resonant devices that reflect hidden social structures, prompting renewed reflections on the relations between body, community, and system.

LI Yanzeng (Beijing,China)

李言增(北京)

Sound artist, electronic musician and music producer.

His work spans from music, visual art to installations. His creativeness is based on minimalistic aesthetics and pursues non-narrative expressions and spontaneousness on the spot.  

The live performance is mainly presented through hardware equipment and the style is towards experimental electronics, noise improvisation, techno etc.

His major works are:

2016 – Participated in artist residency project held by Australian 4A Art Institution and performed live ambient music work “X-AXIS”.

2017 – Presented multimedia project (known as Yi Lang International). 

2018 – Performed live sound project “17+” at Magician Space.

2019 – Participated in the New Year event hosted by Moving Art Museum and performed live sound project “A-03”.

2019 – Performed multimedia work “The jungle” at TED Talks Shenzhen. 

2021 – Participated in Shenzhen Guangming Culture and Art Center “Between the Strange Lands” Art Exhibition and performed multimedia work “SERENADE A04”

2023 – Sound design and live music composition for the opening show “Rebirth” of the Puyuan Fashion Week.

2023 – Composed for the bed theater segment of the large-scale live-action drama “Only Red Mansion – The Theater Fantasy City” directed by Wang Chaoge.

2023 – Formed the band New Password and signed with the Lang Xi (Wave Attack) label under Modern Sky. In July 2024, released the vinyl and CD album “Hidden Image.”    

2024 – Live performance of “Chapters of Variations” during Beijing Art and Technology Biennale (BATB) at Genesis Art Gallery.

LIU Hui (Kunming, China)

刘辉(昆明)

Liu Hui is an artist whose practice is centered around a nomadic approach, focusing on the cultural contexts of non-central regions such as South and Southeast Asia. Through cross-regional fieldwork and site-specific interventions, he seeks to deconstruct the fluidity and hybridity of local cultures within the framework of globalization. Employing painting and the body as primary mediums, he captures moments of absurdity within seemingly mundane everyday scenes, using them to explore the tension between individual spirituality and modern experience.

Constantly moving between diverse cultural settings, his practice excavates marginalized forms of knowledge while simultaneously complementing and challenging mainstream art discourses. His work strives to establish dialogues between the everyday and the absurd, the individual and the collective, the local and the global.

He has participated in numerous programs and events, including the 2017 and 2019 Other Where Sino-German International Art Workshop, the 2018 International Art History Theory Seminar, the 2019 Inner Observation · Performance Art Workshop, the Mengzi “Local and International” Art Workshop, the 2020 and 2021 “Above the Clouds” Performance Art Festival, and the 2024 Mekong River Basin Artist Residency Program in Thailand.

Currently living and working in Kunming and Lijiang, Yunnan, Liu Hui is primarily engaged in painting, performance art creation, and curatorial practice.

LIU Zheli (Ulanhot,China)

刘哲立(乌兰浩特)

Liu Zheli, Born 2000, Xing’an League, Inner Mongolia. Mongolian.BA, Sichuan Fine Arts Institute; MFA, China Academy of Art. Based in Guangzhou.

Liu creates performance and sound works that explore the boundaries between social realities and individual emotions. Recent projects use bodily perception, field research, and public participation to respond personally to contemporary social issues.                    

Web: nowmok.com

PANG Jing (Hong Kong, China)

彭靖(香港)

Jing Pang graduated with a Bachelor of Visual Arts from Hong Kong Baptist University in 2014 and earned a Master of Arts from The Chinese University of Hong Kong in 2022. Through performance art, she explores the relationship between the body and the world, aiming to make inner thoughts and feelings visible. She believes sensory experience can reveal the ineffable, and her work navigates the boundaries between self and other, subject and object, past and present, being and non-being.

Pang has performed and exhibited in Hong Kong (2023: Tai Kwun, M+, Iisu Art; 2022: CUHK, 10 Chancery Lane Gallery; 2020: HKBU), Germany (2023: Galerie Kub), Austria (2023: Raw Matters Wien), Taiwan (2024: Baguashan Arts Festival, 2025: Instant42); Thailand (2024: Asia Utopia); Macau (2024: Macau International Performing Arts Festival), and China (2025: Xi’an Guyu Action).

In 2016, she founded the Pang Pang Drawing Club to promote life drawing. In 2023, she launched [Furnace], an experimental live art lab in Hong Kong that encourages boundless creativity and cross-disciplinary collaboration, fostering deep artistic exploration and reflection.

WEI Mingyi (Chengdu,China)

魏铭苡(成都)

The works primarily involve performance, video, site-specific art, and experimental theater. Centered on identity, the creations explore intergenerational trauma within families through personal experiences, seeking transformative pathways amidst structural imbalances between the individual and collective, and the absence of identity discourse and relational connections. It examines the complex interplay of gender, identity, and family within East Asian cultural contexts, focusing on how individuals navigate equilibrium within collective cultural frameworks amid globalization and rapid contemporary shifts. Simultaneously, it employs personal narratives to engage with women‘s issues and the social existence of marginalized groups, translating embodied action into tangible creative practice. She has participated in various international art festivals and residency programs, including the 17th Guyu Action, the 10th Torch Performance Art Festival, Cycle—the 10th “On the Clouds” International Live Art Festival, Vietnam Action: Dongxing International Live Art Festival, Blurborders International Performance Art Exchange (Thailand), and the “Depth 2024” TAFF Contemporary Art Museum Annual Artist-in-Residence Program. Her work has been exhibited and collaborated with various institutions and platforms, including A4 Art Museum, Jinyue Children’s Art Museum, Fosun Foundation, and AC Lub. She has been featured and interviewed by Hi Art, HONIN Art Center, and A4 Art Museum.

Web: weimingyi-art.com

YU Yuling (Shenzhen,China)

余玉苓(深圳)

Yuling‘s artworks cover performance, video, installation and other multi-media combinations. She as a tutor teaching at Shenzhen University, base in Shenzhen. She master graduated from the School of the Art Institute of Chicago, and BFA from Guangzhou Academy of Fine Arts, majoring in fashion design. Her works are more inclined to research and explore the possibilities between fashion, art and body. Taking fashion materials as the basis of all media, she tries to create and express abstract things and feelings in a more emotional form. Through the medium of materials and body, she explore themes that evoke nostalgia, legacy, and the cycle of life; she draws inspiration from traditional techniques and patterns, and infuse them with modern elements to create works that are both vital and contemporary. Through cross-border creative forms, combining fashion and contemporary art, the conceptual creation process and emotions are presented. While observing the relationship between people in real life, conceptual art is injected into it; the artist is just a shell, the work is the interesting soul.

LIU Guicheng (Beijing,China)

LIU Guicheng is a doctoral candidate in Art Theory at the School of Arts, Peking University. He received his bachelor’s and master’s degrees from the School of Literature, Nankai University. His research focuses on theatre and performance studies, with academic interests covering performance theory, performance philosophy, and cultural performance. His research approach emphasizes interdisciplinary dialogue, attempting to explore how performance can serve as a form of social practice and cultural criticism at the intersection of sociology, anthropology, and performance studies. In the field of performance philosophy, he is particularly interested in how performance can generate the same level of critical power as philosophical thinking, with a special focus on the interaction between performance and political philosophy. In the context of the Global South, he examines cultural performances as social movements within Asia and their inter-Asian networks, considering their potential in shaping the public sphere. His related works have been published in journals such as Drama, Theatre Arts, NJU Drama Review, and Asia-Pacific Studies, etc., with representative papers including The Contemporary Presentation of the Relationship between Human and Puppets, The Politics of Memory in Myanmar Performance Art, and The Theatrical Imagination of Anthropology, etc.

THE FOUR POINTS OF THE UP-ON INTERNATIONAL LIVE ART FESTIVAL   

●  非营利 UNCOMMERCIALLY

The festival is organized without profit-making purposes, and the staff works without pay, except during artistic activities when they receive subsidies, just like the artists. The financial accounts are made public within two weeks after the festival concludes.

●  国际化 INTERNATIONALIZATION

The festival has been set up as an international platform for professional exchanges since the beginning. Artists worldwide are invited to participate in the festival, including those engaged in live art creation since the 1970s and newcomers full of an adventurous spirit.

●  学术性 ACADEMIC NATURE

The festival strives to invite the participation of outstanding artists with rich creative experience at home and abroad, facilitates close and professional academic exchanges and sharing, and initiates dialogues and discussions on the most cutting-edge topics of live art on an international scale.

●  公共性 PUBLICITY

During the festival, artists will create works and hold lectures, workshops, and other activities in some art organizations, communities, and universities to promote and enhance public awareness of live art.

UP-ON International Live Art Festival can be held for the thirteenth year as a non-profit professional event, thanks to the continuous support of many fellow artists over the years. This includes the dedication of domestic and foreign artists, the dedication of volunteers and working groups, the advice of industry insiders, the financial support of many partner organizations in terms of funding, venues, personnel, etc., and, not least, the active participation of the public. UP-ON International Live Art Festival, which grows by eating a hundred meals and enjoying a hundred blessings, knows that it has to walk on thin ice, self-examine with an international vision, and unremittingly improve its professional quality to live up to everyone’s support. The future is long, and it is the same way to move forward.

Text Editing: Zeng Jie, Liu Yuantao, Zhou Bin

Artwork Photography: Feng Feifei, Sun Xiaolei

Video Shooting & Editing: Li Jingming, Peng Weiwen

Behind-the-Scenes Photos: Wang Yanxin, Dai Zhouke, Zeng Jie, and all participating artists of the festival

Website Layout: Zeng Jie

Poster Design: Little Sheep