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• I CANNOT BE SILENCE(D) ANYMORE

  BY KIRSTEN HESHUSIUS

  Only by undergoing abuse do I now see it around me all the time—not only the abuse I experienced but also racism, gender inequality, abuse of the planet and the underlying structures of power. What strikes me in my waking up process is that the victims of whatever abuse suffer silently. Speaking up about it doesn’t help most of the time because people don’t believe you or tell you it wasn’t all that bad, whereby they are causing extra harm and isolation. I understand this mechanism of disbelief now. If you acknowledge abuse, you must step out of your comfort zone and leave behind this false sense of security. You have to take responsibility. Most people won’t do this. I stepped out of the groove—I cannot be silence(d) anymore.  
• 萬語千言 WISH YOU WERE HERE

  BY Wen Yau

  “On the white canvases covering the wooden structure of a cellar room (of approximately 10 square meters), I repeatedly wrote in Chinese '我要真普選' (I want real universal suffrage) with willow charcoal made in China. This slogan has been used widely in Hong Kong during the Umbrella Movement and represents the people's demand for freedom and democracy. I travelled to Venice when the major occupy site outside Central Government Offices was about to be cleared by police in Hong Kong. A programme of selected video documentaries of or work by artists in Hong Kong themed ‘Performing Civil Struggles: in-between conformity and resistance in Hong Kong (2004-2014)’, curated by me for the VIPAW (Venice International Performance Art Week), was showing in the next room. As an active participant in the pro-democracy protests in Hong Kong, my installation/performance manifested not only my confessions of being away, but also my solidarity with other protesters at home, and an intense meditation on a series of civil struggles in decades. In my live performance on 15 December 2014, when the last major occupy site was being cleared in Causeway Bay, I blindfolded myself with the 5-star flag of PRC and repeatedly wrote the same slogan again on the canvas. Messy, scribbled or uncontrolled, the blind writing layered the canvases with my mixed feelings about the civil struggles in Hong Kong: devoted and persistent yet vulnerable, isolated or even imprisoned by one's own promise. On 18 December 2014, the 6th day of the 2nd VIPAW (Venice International Performance Art Week), I presented a tele-performance through webcasting from Hong Kong. I lind-walked around the Central Government Offices at midnight when there was almost nobody there. After my emotional outbreaks during my performance in Venice, this blind walking took me back to the locale of the protests in the past few months and where the Umbrella Movement originated. The remoteness of my performance as shown by live-feed video projection on my recurring writings of ‘我要真普選’ (I want real universal suffrage) in Venice corresponded to the emptiness and solitude of the place which had been occupied in the past 3 months and cleared a week ago. This action also offered me a chance to meditate on the unseen future of the civil struggles in Hong Kong and re-discover the overlooked micro-history on a personal level.”
• MONSTRAS

  BY PACHA QUEER

  In this documentary, the Pacha Queer movement, a dissident, rebel, counter-cultural, and “self-festive” community based in Quito, Ecuador, uses performance art to campaign for social, political, and sexual liberation. Monstras has been awarded as best film at Cine+Perfo 2022.