2021 Festival Review & Publication of Accounts｜The 9th UP-ON International Live Art Festival

11/21- LUXELAKES· A4 ART MUESEUM

First of all, welcome everyone to the 9th UP-ON International Live Art Festival. Over thirteen years, UP-ON is now nine years old. Its growth has been full of twists and turns: from the inaugural edition in 2008 to the successful third edition in 2015, it has come this far through collaborations with universities, art museums, and the support of friends. Years of effort have revealed an intriguing ecosystem that has been revitalised. From the streets, flats, and squares of the 1990s to today, performance art in Chengdu has seen its public spaces compressed and relocated. Yet for artists, the language with which they liberate and express the body has become richer. UP-ON strives, through practice, to carry these things forward, taking on the role of learning through teaching, and watching generation after generation of young artists communicate and study with outstanding performance artists from home and abroad, growing together. Finally, happy ninth birthday to Up-on, and I hope you all enjoy this year’s live art festival.

Hello everyone! I am genuinely heartened to see all the guests here today. Since 2008, when Mr Zhou Bin and I struggled to launch the UP-ON International Live Art Festival, it has grown into a vibrant event. For UP-ON to have come this far, we owe thanks to the arts organisations, media friends, staff and fans who have sponsored, supported, helped and followed us. I wish the festival every success. Thank you all!

I have been reflecting on how to regard place within today’s context of diversity and modernity. I believe that when we gaze at place, we start with the naming of local cultural events and activities, because naming itself shapes them. A long-standing, place-centred cultural programme such as UP-ON creates the possibility of writing about place. Turning nine marks a threshold for UP-ON, and there is still ample space for imagination in its future development. As a curator, I have noticed a shortage of young participants, and it is excellent that UP-ON continually invites young people to join. If similar small, locally led, long-term programmes could arise in different cities, they would build ever more platforms for engagement with young people. This is a topic worth our discussion. Today, as an audience member, I am very much looking forward to the artists’ performances. Finally, I also wish UP-ON every success.

I’m the artist spokesperson chosen by a throw of the dice; this element of chance is a blessing in the performing arts. I hope everyone can share in this good fortune during the performance. By casting the dice, I also sensed UP-ON’s attitude, which, to me, feels more like a ritual. UP-ON has created a space for equal dialogue, bringing more creators together. I’m able to keep making work because someone built these platforms. I hope everyone who comes here can continue to create sincerely, stay fortunate, and attain what they pursue. Finally, I’d like to leave you with this line: performance only exists when it’s performed.

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Artist: Zhu Xinyun (Wuhan)

Process:
The artist grips one corner of the sofa with one hand and turns in circles, then takes hold with both hands and spins increasingly fast. She sits on the sofa and slowly reclines. She runs in circles, walks in circles, then goes up the steps, stands still and looks straight ahead.
She walks backstage and returns with a self-heating hot-pot meal and a bottle of mineral water. She cooks the hot-pot, walking in circles during the intervals, then stands still. Holding an egg in her right hand, she offers it to the puppy, constantly changing direction and repeating the gesture.
The artist goes backstage again, fetches a stainless-steel bowl, puts it on the floor and repeats the previous sequence.
On her third return she brings out a durian, moves the table to the centre and places the durian on it, then starts spinning. She then sets the durian on the floor, lining it up with the stainless-steel bowl and the hot-pot, and looks at the puppy. She spins again, looks at the dog, and keeps repeating; she changes direction, stands, looks at the puppy, and repeats.
On the fourth trip backstage she brings out a second stainless-steel bowl and sets it down. The durian and the hot-pot are put back on the table. She drags the sofa back to the centre, sits on it and looks at the puppy. Pointing her right index finger at the puppy, she interacts with it; after the interaction, she points again and says, “Eat.” She opens the backstage door, the puppy walks in, she closes the door, and the piece ends.

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Artist: Body and Field Guerrias (Shanghai)

Process: The artist continually probes the distance between microphones and the loudspeaker, placing four microphones at varying distances to create a sound field. He then runs between the microphones, producing sounds (footsteps, gasps). After a few minutes, holding two microphones, he rubs them across his body, generating sounds (friction, panting). He vocalises while constantly moving a microphone in his left hand. Barefoot in slippers, he rearranges the microphones and, at each new position, directs an “ah” into them. Still holding a microphone, he continues to vocalise into it as he walks towards the door.

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Artist: Xiao Qing (Beijing)

Process: As background music starts, the artist sits and then stands behind wooden slats. She rises and balances two slats of different lengths on her head. She then ties the slats into a cross and sets it aside. Producing an elastic band, she invites two audience members to stand opposite one another and stretch the band between them. Holding the cross, she skips through the band. She puts the cross down, dips her hands in black paint, smears it on the band, and presses the paint from the band onto her face and white clothes. The lights go out; a spotlight comes on. Standing in the middle of the band, the artist is repeatedly flicked by the band manipulated by a third audience member. Finally, she uses the paint on the band to blacken her face, the music falls silent, and the performance ends.

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Artist: He Yu (Shanghai)

Process: The artist lies flat on their back, pushing against the floor with both feet to move towards the light source. Kneeling, they press coloured table-tennis balls into plasticine, stacking them upwards one by one. A plate holding the balls is balanced on their head so that the balls touch a feather suspended above. The artist falls to the ground and throws the scattered balls at the feather; with boxing gloves on both feet and their back on the floor, they spring their legs up repeatedly to strike the feather. Gathering the balls again, they lie flat, place the plasticine on their chest, stack the balls on top, raise the right foot, gaze at the feather and hum a tune. The right foot is lowered, both arms stretch past the head, the humming stops, the lights fade, and the piece ends.

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Artist: He Yu (Shanghai)

Process: Sun Wei created a simple self-feedback programme in Max. The sound changes according to touches on the laptop and disturbances in the surrounding air. Simultaneously, a snippet of sound is sampled through a loudspeaker and the copy is placed in a corner of the space. Throughout the performance, a vibrating electric shaver, aluminium foil and an empty tin can are also used elsewhere to generate continuous noise. The entire piece brings together laptop feedback, loudspeakers, assorted objects, the environment, the passage of time, and an indeterminate audience.

11/22- GUANGHUI ART MUSEUM

Firstly, on behalf of Guanghui Art Museum and Guanghui Group, I extend a warm welcome to all our colleagues. Guanghui Art Museum not only focuses on contemporary Chinese ink art but, with a broad perspective, also engages with the diverse artistic ecosystem of our time. We take an active role in shaping the city’s cultural landscape and strive to become a world-class private art museum. We are very honoured to join the UP-ON International Live Art Festival as a new member. Together with UP-ON, we will work, grow, and explore further possibilities in live art, providing a platform for mutual exchange. Lastly, I wish the 9th UP-ON festival every success and look forward to seeing even more outstanding creations from all the artists.

From the inaugural edition to today’s ninth, UP-ON has received support from every quarter. Professor Liu Chengying and I launched the UP-ON International Live Art Festival when performance art in China was on its last legs. UP-ON is like an airport, allowing outstanding artists from around the world to land in Chengdu. Although there was a four-year gap between the first and second editions, from the third onwards, we have had the backing of many art institutions, media outlets, and friends in Chengdu. Nurtured on contributions from a hundred households, UP-ON is a festival that belongs to everyone. Because of the pandemic, this edition has invited only domestic artists. To a certain extent, they represent the cutting edge of Chinese live performance art. I wish the eight artists creating work this afternoon every success.

Thank you to UP-ON for providing us with such an excellent platform. The number nine, as a culmination, carries the meaning of “all returning to one”. It is truly gratifying to see that, as UP-ON has progressed to where it is today, ever more art institutions and artists have become involved. I also believe that UP-ON will continue to uphold an academic spirit, an innovative spirit, and an enduring passion for art. Thank you, everyone!

I think UP-ON is great fun, since I was picked as the spokesperson by rolling the dice. At the same time, UP-ON sets very high standards for the academic quality and rigour of the works, so as the first one to create a piece, I’d better go and get ready now. I hope everyone enjoys themselves today and gets to see another side of me. Thank you!

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Artist: Liu Ao (Kunming)

Process: The artist lies flat on the floor with a pillow under her head. Suddenly she shouts “Ah!”, sits up, then lies back down. With arms outstretched she repeatedly rises and reclines. She sits upright again, pauses, leans back, straightens up and keeps repeating through momentum. She rolls over, gets up, removes the pillow, raises it above her head and flashes a V-sign straight ahead. She then grips the pillow with both hands, shakes it vigorously, lifts it and runs back and forth along a diagonal. Staring at the pillow, she squeezes it with both hands while continuing to run along the same diagonal. After several passes she walks to a table, places the pillow on it and moves the table to the centre. She leans her upper body on the table, grabs a corner of the pillow with her right hand, swings her arm backwards to lift it, then thrusts her arm forward so the pillow, carried by inertia, passes under the table, where her left hand, reaching round the front, catches it. She repeats this several times, then raises the pillow above her head again, tidies her hair, smiles and makes another V-sign straight ahead. She threads the pillow through her clothes, covers her face with it and walks away. End of work.

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Artist: Zhang Wei (Shanghai)

Process: Inside an unfinished exhibition space, I walk the length of a narrow groove in the concrete floor, inserting scarlet beans into the crack one by one. Returning to the starting point, I retrace the path, balancing each bean on my head as I proceed. Upon reaching the opposite end, I stand still and slowly raise my head until every bean has fallen.

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Artist: Li Aixiao (Chengdu)

Process: The artist, dressed in white, sits in a pool holding a balloon symbolising “birth”, on which the characters “生盲” are written. Audience members repeatedly press a valve beside the pool; water flows into the balloon and it grows larger and larger. Between presses, the red water inside flows back. As the balloon grows heavier, the artist’s legs tremble continuously. After about twenty minutes she raises her hand to signal the audience to stop adding water. With her left hand, she picks up a needle and pierces the character “盲 ” on the balloon at a point that completes it into the character “育”. The red water inside bursts out, dyeing the water in the pool red. She stands up and leaves, a puddle of red water remaining on the chair. The performance ends.

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Artist: Yifan (Shanghai)

Process: Together with staff, a sack of stones is dragged into the space; the sack splits and the stones spill out. Two buckets of water are drawn, washing powder is added, and foam is worked up. Body and space interact with the bubbles in various ways – pushing, piling, kneading, letting them slide, and so on. When foam can no longer be made, the stones are placed into the buckets at different speeds and in different manners until the water level rises to saturation, resembling a small lake. At this point, an audience member places a small boat on the surface and then leaves; the boat sinks, is lifted out, wrung dry, and set afloat again. In the other bucket, little water remains; the bucket is swung in circles, no water spills, it is set down, the two buckets remain quietly, and the piece ends.

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Artist: Wang Chuwen (Shanghai)

Process: The artist, draped in black elastic cords, enters a white space. She coils the cords at her feet, finds a loose end from the heap, ties it around her waist and knots it. Pulling out a suitable length, she approaches a member of the audience, fastening the other end to the spectator’s chest or to a white pillar in the space, then returns to the pile and repeats the action. Because the cords differ in length and elasticity, and because the artist, the spectators and the pillars all move within the space, increasingly complex relationships are formed; they become entwined and constrained. Feeling the tension, the artist begins to resist and wraps the cords ever faster. As the entanglement grows more intricate and more people become involved, the atmosphere turns highly charged, and the artist’s movements become progressively more difficult and intense. Some cords snap suddenly while new ones continue to be added. The artist falls, crawls, sprints, growls—each action accompanied by breaks under greater force. Eventually, she runs full tilt toward the exit, battling immense resistance while cutting through inescapable knots with scissors. Finally, amid a loud crack, all the cords break, the artist drops the scissors, disappears, and the piece ends. The remaining cords hang on the spectators, the pillars, and the floor.

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Artist: Liao Yingze (Shenzhen)

Process: Scattered across the grass from left to right are objects symbolising the course of human civilisation: a bamboo chair, burlap, peacock feathers, a crown, steel, plastic, a cassette tape, a wine bottle, a Swiss passport, etc. The artist, dressed in white, walks in from a distance through smoke, sits down and begins to paint themself and the surrounding objects white, randomly picking up some and draping them on their body, gradually carrying more and more. In the course of the action they paint themself green, then black with acrylic paint. At the end they pour all the objects they are holding over their head, take off the paint-covered outer layer, step back and disappear into the smoke, concluding the piece.

 

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Artist: He Yu (Shanghai)

Process:

1. Walk onto the grass, lie down on my side, curl up, holding a stone in my arms.
2. A volunteer approaches carrying a plastic sheet and covers me with it. The sheet has a black-and-white ink-wash pattern, is slightly translucent, and bears six or seven small round mirrors.
3. Under the sheet I stroke the stone, gently stretch, pierce one of the mirrors with my left hand and push it through the hole, waving the bare hand outside. Then I tear another mirror with my bare right leg, extend it and let it interact with the left hand.
4. I withdraw the right leg. My right hand, wearing an emerald-green velvet glove, breaks through another mirror; the two hands interact.
5. The bare left hand tries to pull off the right hand’s glove; after a brief struggle the glove is torn away. The hand starts to withdraw, then returns, palm open to reveal a tiny green twig.
6. The left hand withdraws. Only the right hand, stained yellow with earth, cradles the little green twig, swaying in the wind.
7. I curl back into the original side-lying foetal pose. Only the left hand remains outside. Two volunteers gather up the plastic, wrapping me so I resemble a large rock, and carry me to a cluster of boulders on higher ground. I am bundled up like a single boulder, leaning against the others, with only that hand and the green twig exposed to the sky.
8. Pause for 15 seconds. End.

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Artist: Xiao Qing (Beijing)

Process:
The artist, dressed entirely in black, invites a participant to realise the piece together. They begin seated on the ground, tussling over a book. Each then balances the book on one palm, letting it skim along a long black drape spread across the grass as they walk uphill. Standing back to back, they hold the book aloft; after the artist shouts “I Love performance”, they step forward and the book drops to the ground. The participant hoists the artist onto one shoulder. Perched there, the artist covers their upturned face with the open book. At the upper end of the drape, the artist lies down, wraps themself in the fabric and rolls downhill; the black cloth envelops them so completely that they can no longer move. Through the relationship between body and fabric, the work realises the concept of a traditional Chinese scroll, while the rolling gradually drifts from its original path.

11/23- TUFF CONTEMPORARY ART MUSEUM

 

Good afternoon, everyone! On behalf of TUFF Contemporary Art Museum, I would like to welcome all the artists and audience members to the UP-ON International Live Art Festival. This morning we had performances by Wang Chuwen and visiting artists from Temporary Performance, and at midnight on the 24th Xiao Shengjie and Li Zhuoxuan will begin their seven-day piece. Thank you!

Before today, three evenings of artist work exchange events have already taken place at TUFF Contemporary Art Museum. The artists have been here to share and engage in dialogue, creating a wonderful atmosphere. Like UP-ON, TUFF Contemporary Art Museum aims to be a free space that offers unique experiences to both the audience and the artists. Thank you, everyone!

First, I would like to express my sincere gratitude to Zhou Bin and Liu ChengYing for the invitation, which has given me the opportunity to participate in the UP-ON International Live Art Festival this year. As a writer, my way of thinking tends to be rigid and rational. However, through my interactions with young artists over the past few days, I have gained a lot. I feel that UP-ON has created a dynamic space where everyone can communicate and collide. I wish today’s artists’ activities a smooth and successful unfolding.

I believe that UP-ON embraces an open attitude. I am very grateful to have such a group of people who continue to pursue this initiative. I really appreciate this completely open and entirely free approach. I hope everyone enjoys this art festival!

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Artist: Wang Chuwen (Shanghai)

Process: The artist approaches the table, picks up a candle from the surface, and lights it. Then, she pours ink into a dish, dips a brush into the ink, and writes “Hello” on a pre-prepared sheet of white paper. She then stands on a chair to attach the paper to the wall behind her. Next, she returns to the table, dips the brush into the ink again, writes “What to say” on another sheet of white paper, and stands on the chair to attach this paper to the same wall. Returning to the table, she takes out a third sheet and writes an unfinished character. She pauses, suddenly slams her hand on the table and stands up, causing the candle to fall and immediately ignite the paper on the table, producing a bright flash; the artist is engulfed in flames, and a stack of paper disappears completely and silently in an instant. The “Hello” behind her is also consumed and disappears in the fire. The artist looks around at the audience, picks up a large brush from the floor, walks to the left side, and writes “I” in ink on a large piece of white cloth. She then moves to the right side and writes “Persevere” on another sheet of white cloth before leaving the stage, concluding the piece.

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Artist: Temporary Show (Shanghai)

Process: The artist guides four female participants to each seek out a natural object (stone, fallen leaves, flower petals, wheat stalks) on the rooftop of a real city. They step through a white sheer curtain into a square space, then sit down to breathe, experiencing the slowly rising sounds of virtual bowls and a female voice, imagining houses and streets. After several passages, the participants gradually begin to chant animal-like tones, blending with the sounds of wind, flowing water, and birdsong nearby. Finally, they conclude with a shared chant, departing one by one, at the end of the piece.

Cloud Artists: HT, PL, Ding Yi, Emil (Argentina), Ma Xiaoyu

Concept: Lesbos Island is a mixed-reality virtual matriarchal relationship constructed by the Temporary Show, originating from HT’s performance of the same name. The artist uses cloud performance to facilitate an improvised dialogue between technology, artists from the virtual world, and the “voices” present, completing a ritual.

 

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Artist: Xiao Shengjie + Li Zhuoxuan (Beijing)

Process: At midnight on December 24, 2021, Xiao Shengjie enters an all-black container building box, which is then sealed by Li Zhuoxuan, marking the box as closed. Li Zhuoxuan then enters an adjacent white open container building box. Xiao Shengjie and Li Zhuoxuan spend seven days separately in their respective boxes. At midnight on October 31, Li Zhuoxuan walks while playing a hand-held drum and arrives at the sealed black box, tears off the seal, and calls for Xiao Shengjie to come out. A few minutes after Li Zhuoxuan pulls back the black curtain, Xiao Shengjie slowly peeks out from the dark box, exits, embraces Li Zhuoxuan, and together they walk to the front of the white open box. The performance ends.

11/24 – LUXEHILLS ART MUSEUM

Welcome, everyone, to Luxehills Art Museum! I am Tian Meng, the artistic director of Luxehills Art Museum. Since 2008, Luxehills Art Museum has supported the UP-ON International Live Art Festival in various ways. With the strong support of its founders, Teacher Zhou Bin and Teacher Liu Chengying, UP-ON has invited over 200 outstanding performance artists from both China and abroad to participate. This constructive work has had a huge impact on the development of performance art in Chengdu and across China. This year, due to the pandemic, we have only invited domestic performance artists. However, we have seen many new and young faces. I believe that one of the main purposes of this platform is to promote the emergence, voices, and growth of new generations of artists.

In 2008, performance art in China was at a difficult stage of development. This situation was mainly caused by two factors. Performance art works in 2001 were generally quite intense, often involving blood and the harming of animals. This sparked fierce controversy at the time. I believe the bottom line of performance art is to not violate the law and to avoid harming the lives of people and animals. However, for the public and society as a whole, the aggressive expression of performance art can easily lead to controversy. Therefore, since 2001, most mainstream media coverage of performance art has been one-sided.

The second important reason is that in 2003, the Chinese art market began to take off, and performance art, as a non-material form of art, struggled to enter the art market. Consequently, after 2007, it became difficult to see performance art exhibitions in China, and critics rarely wrote about performance art. In light of this situation, in 2008, I and Artist Liu Chengying decided to initiate an event, an international activity, inviting foreign artists to Chengdu for performance art creation and exchange. Our original intent was to hold it annually, but there was a four-year gap between the first and second editions, primarily due to difficulties in fundraising. Starting from the successful hosting of the third edition in 2015 until now, more and more people, art institutions, and schools have come to understand, appreciate, and participate in the UP-ON International Live Art Festival. UP-ON has a policy of not inviting the same artists repeatedly, and due to the pandemic this year, we only invited domestic artists to participate. Therefore, at this year’s art festival, we saw many new and young faces. Their works are incredibly diverse, with rich forms of expression. For example, some lean towards drama, while others are more modern dance—very avant-garde and experimental. Finally, I would like to thank the weather for its kindness, it is good weather.

I am particularly honoured to be invited to the art festival! The on-site participation over these past few days has given me a unique experience. This feeling cannot be obtained by merely looking through archival materials. I feel that each artist’s work has broadened my horizons and has its own kind of brilliance. I wish the art festival great success and hope it lays a solid foundation for the tenth festival next year.

Just now, Zhou Bin said that ‘UP-ON’ was born out of difficulty, has experienced a challenging growth, and now exists in hardship. An arts festival can continue for thirteen years, showcasing the strength of grassroots power. I have a few deep feelings about this. First, this year’s arts festival is full of childlike fun. Childlike fun is part of artistic creation; art is a game for both adults and children. Second, the works contain themes of life and death. Third, the works reflect some of the relationships in our daily lives. What kinds of relationships should we maintain? What kinds of relationships should we discard? We make choices every day. Based on this, life revolves around two questions: what we say every day and what we do every day. Performance art is the art we do every day.

Hello everyone, I am honoured to stand here. I am very grateful for the invitation from UP-ON. Due to my introverted nature, I did not continue to engage in performance art after graduation. I am very happy to participate in the UP-ON International Live Art Festival this time. Please take your time to watch the upcoming works. Thank you!

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Artist: Jiao Pengfei (Xi’an)

Process: Due to a sudden outbreak of COVID-19 in Xi’an, Jiao Pengfei was unable to attend. He sewed together his shirt, trousers, and shoes into a single entity and sent it to the festival as a substitute for his physical presence. Staff hung the entire outfit on a lamp post in front of the art museum, while the sound system played the artist’s intermittent coughing.

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Artist: Tang Guanhua (Fuzhou)

Process: The artist sits on the steps and folds an A4 sheet printed with a staff into a paper airplane. Then, he stands up and launches the paper airplane. The paper airplane flies out randomly and lands; he picks it up and launches it again. The landing point of the paper airplane becomes the starting point for the artist’s next launch, and the direction in which the tip of the paper airplane points determines the direction of the next launch. Eventually, he retrieves the already ruined and soaked paper airplane from the water and returns to the original steps where he folded the airplane. He reassembles the paper into the shape of an A4 sheet and signs his name (Tang Guanhua) and the date (2021.10.24) in the bottom right corner. The paper is left in place, the artist exits, and the work concludes.

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Artist: Li Ke (Chongqing)

Process: The artist sits cross-legged inside a transparent sphere. The body dances, propelling the sphere forward. Upon reaching the edge of the jetty, the artist enters the water and continues to dance. The balloon bursts, marking the end of the piece.

 

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Artist: Xiao Qing (Beijing)

Process: The artist, dressed in a black dress and barefoot, walks down the stone steps and into the creek, moving forward along the direction of the water flow. Upon reaching a stone step, she places her left hand on the cement slab to her left, slowly sits down, and pauses for a moment. She then stands up and walks toward the flowerbed on her left. The artist ties one corner of the rope from her dress to a branch, squats down, and pulls downwards with force. After that, she picks up a pink hanger that has fallen from the tree, threading her arms through both ends of the hanger, which she then wears on her back. She steps back a few paces, adopts a half-bent posture, and pulls down on the branch with force. After about a minute of pulling, she unties the rope from the branch and walks down. Arriving at a circular flowerbed, she stands on the marble edge of the flowerbed, facing forward, and waves with her left hand to signal the audience. Two volunteer audience members walk toward the flowerbed and sit on the marble edge. She bends down and speaks into the ears of the two audience members before turning and walking towards the foot of the hill. She enters Starbucks, holds a cup of coffee in each hand, and returns to the circular flowerbed. With both hands holding coffee, she traces circles above the heads of the two audience members, then sits down between them. A few seconds later, she turns to face the two audience members and squats down. She then hands the coffee from her left hand to the male audience member on the left, takes a sip from the coffee in her right hand before offering it to the female audience member on the right, and then hands the coffee to her. The artist stands up, removes the hanger, places it on the ground, exits the stage, and the performance ends.

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Artist: Yan Keke (Hangzhou) + Mei Chaoyin (Chengdu)

Process: Yan Keke walks in circles inside the circular pavilion and then lies down in the middle of a circle of luminous powder. Mei Chaoyin walks around the outside of the pavilion and enters it, taking out a purple light to illuminate Yan Keke, making her body emit a fluorescent glow. He then outlines the edge of her silhouette on the ground. Yan Keke begins to dance, while Mei Chaoyin lights up the path for her using the luminous powder on the ground. Yan Keke dances along the illuminated route marked by Mei Chaoyin. Whenever the luminous effect on Yan Keke fades, she stops moving, and Mei Chaoyin immediately takes out the luminous powder he carries, applying or sprinkling it over her entire body to “re-light” her. They pass over a wooden bridge, slowly making their way to the wooden bank by the lake following the glowing path. Yan Keke stands by the bank, and Mei Chaoyin clicks play on the music before standing behind her. Yan Keke dances to the music, and when the music stops, she also stops dancing. Mei Chaoyin takes three quick shots of Yan Keke with a small camera and then turns to the audience to take three more shots. He then walks to Yan Keke, holding a bucket of water, and puts on white gloves to wipe her entire body with water from head to toe until the fluorescent effect completely dims. Yan Keke stands coldly in the night while Mei Chaoyin turns to face her from a distance of three meters, locking eyes with her. Suddenly, Yan Keke pours the entire bucket of water over herself. At this moment, the clock strikes eight. The two look up at the sky, bringing the performance to a close.

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The 9th UP-ON International Live Arts Festival

Festival Initiators: Zhou Bin, Liu Chengying
Project Director: Zhou Bin
Project Coordinator: Huang Jiao
Working Team: Xue Yuxiang, Xiao Mianyang, Sun Yuzhao, Zhang Yaofan, Zhao Yisong
Visual Design: Xiang Zheng
Observers (sorted by first name initials): Chen Mo, Cui Fuli, Ding Fenqi, Huang Xiaorong, Jiang Jun, Lan Qingwei, Li Jia, Li Jie, Sophia Kidd (USA), Tang Peixian, Tian Meng, Zha Changping, Zhang Yi, Zhang Yingchuan
Organising Institution: UP-ON Live Art Space
Sponsoring Institutions/Co-organisers:
Luxlake A4 Art Museum, Luxehilles Art Museum, GuangHui Art Museum, Tuff Contemporary Art Museum
Gift Sponsorship: Thought Experiment + PANTTERN
Space Support: X Space
Media Support: INK Lifestyle Space, Yiqi, Zaiyi Live, Artron.net, Art Headlines, 99 Art Network, Hi Art, 1314 Magazine, YOU Chengdu, Chengdu Exhibition Watch, Sina Sichuan, Weibo, Baidu, Art Wild Madness, Sohu Focus, Upward and Life
Design and Layout: Xiao Mianyang