Tianyu Wang
In 1995, the World Conference on Women was held in China. Since then, the feminist movement has increasingly focused on activities in public spaces. With the rise of the internet, more and more young people have begun to recognize and oppose various forms of violence legitimized by patriarchy, rooted in traditional disciplines in different forms.In my work, I use performance art as the creative process and images as the medium to create the series “Hiding and Seeking,” with the hope of provoking reflection. In the project, I use human postures, gestures, and everyday household items as entry points. I focus on the invisible violence and oppression faced by women within the family environment. In this project, I use human postures, gestures, and everyday household items as entry points. On the one hand, I photograph myself as the subject to reconstruct the “postures women are expected to take in their daily lives.” This is a way to deconstruct and resist the oppression women still face from traditional disciplines. On the other hand, by recalling scenes of violence in my family, I channel the physical reactions and the trauma triggered by that violence. Even though it happened a long time ago, I realize it is still imprinted on me.












Tianyu Wang












In 1995, the World Conference on Women was held in China. Since then, the feminist movement has increasingly focused on activities in public spaces. With the rise of the internet, more and more young people have begun to recognize and oppose various forms of violence legitimized by patriarchy, rooted in traditional disciplines in different forms.In my work, I use performance art as the creative process and images as the medium to create the series “Hiding and Seeking,” with the hope of provoking reflection. In the project, I use human postures, gestures, and everyday household items as entry points. I focus on the invisible violence and oppression faced by women within the family environment. In this project, I use human postures, gestures, and everyday household items as entry points. On the one hand, I photograph myself as the subject to reconstruct the “postures women are expected to take in their daily lives.” This is a way to deconstruct and resist the oppression women still face from traditional disciplines. On the other hand, by recalling scenes of violence in my family, I channel the physical reactions and the trauma triggered by that violence. Even though it happened a long time ago, I realize it is still imprinted on me.
BLURRING THE LINES
FOSTERING TALENT AND NETWORKING IN VISUAL CULTURE
Program Leader
Partners



BLURRING THE LINES
FOSTERING TALENT AND NETWORKING IN VISUAL CULTURE
Program Leader

Partners


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