Li Xinmo 李心沫

Artist & Art Critic 艺术家 & 艺术批评家

Queerness and Image Writing

09: 00-09: 20 CET 29/05/2021

When we emphasize a homosexual identity, we are actually creating a discourse system in opposition to heterosexuality. This differentiation excludes other gender identities, including transgender, binary, and other identities. This perpetuates a dualistic classification of identities, which is oppressive. In contrast, queer theory pushes back against logocentrism and encompasses all sexual minorities that are excluded from mainstream social discourse. As a concept, “queer” attempts to eliminate the clear boundaries between genders, supporting the belief that a person’s sex is fluid; in other words, people can switch between different gender identities. Ultimately, queer theory aims to allow individual differences and free choice of gender identity. That is, people do not necessarily have to be heterosexual or homosexual; rather, they can change as their experience changes and they eventually become themselves.

My interest in queer theory began around 2010. Butler’s queer theory had a profound impact on me, which presented itself in my writing and art. I explored the concept of queerness in the video art and photography I created. In these works, sex is fluid, and the people who appear in the works are lesbian, gay, bisexual, androgynous, and heterosexual. The Book of Images uses performance art to evoke multiple interpretations of sex. This is a fitting example of the interpretation of the concept of “gender performance.” The images are like a photo gallery for a film — they have a narrative and yet they break the narrative. They are clips and discrete moments, they are the ephemeral fragments of multiple stories. Drifting, another work that I created, uses images to present a narrative. The combination of text and photographs depicts the fluidity of a woman’s consciousness between heterosexual relationships and homosexual relationships. This is also an artistic exploration of gender fluidity. The shift between different types of media coincides with the transition between different gender identities.

Li Xinmo is an artist, critic, and feminist theory researcher. She was born in Heilongjiang and graduated from Tianjin Academy of Fine Arts in 2008.  Li Xinmo’s works, based on a variety of media, including performance, painting, video, photography and installations, have been exhibited in Toronto Photo Biennial, Prague Biennial, National Museums of World Culture in Sweden, Female Museum in Germany. Many other art museums and galleries in France, Italy, America, Canada and Columbia have exhibited and collected her works. Her work has been documented in academic articles including the “National Fine Arts,” “Oriental Art for Everyone” and other professional art publications.

酷儿与图像写作

当我们强调同性恋身份的时候,其实是制造了一种与异性恋相对的话语系统。然而这样的划分却排斥了其他的性别身份,包括跨性别,双性恋等等。所以这仍然是延续一种二元论的划分系统,这个系统是具有压迫性的。而酷儿理论则是对罗格斯中心主义的一种反叛,它包括所有的被排斥在主流社会话语之外的性少数。酷儿试图拆解性别之间的明确的界限,认为人的性是流动的,就是人们可以在不同的性别身份之间转换。最终是以实现个体的差异性和性别身份的自由选择为宗旨。就是人们不必一定成为异性恋或者同性恋,而是可以随着经验的改变而转换,最终成为他们自己。

对于酷儿理论的关注是从2010年左右开始的,巴特勒的酷儿理论给了我重要的影响,这种影响在我的写作和艺术创作中都有所表现。我在一系列的影像作品中探讨了酷儿的概念。在这些作品中,性是流动的,出现在这些影像中的有女同性恋,男同性恋,也包括双性恋,雌雄同体,以及异性恋。《影像志》是通过表演的形式来呈现性的多元,这正好是对“性别的操演”的概念的诠释。这些图片接近于电影剧照,带有叙事性又打破叙事性,它们是一些片段和瞬间,是一个一个故事的短暂停留。另一件作品名为《游离》,是通过图像的形式来呈现的一次叙事,文字写作也与照片交织在一起,描述了一个女人在异性恋和同性恋的关系中的意识的流动。这也是关于“性别是流动”的一次艺术上的探讨。而不同媒介之间的转换也暗合了性别身份的转换。

李心沫是一名艺术家、批评家、策展人和女权主义理论研究者。1976年,她出生于中国黑龙江省依兰县。2008年,她于天津美术学院硕士毕业,现居北京。她用行为、绘画、影像等多种媒介进行艺术创作,以文字、图像、装置、现场艺术等方式表达记忆、梦境和潜意识。她关注性别、身份、生态等议题。作品曾展于多伦多摄影双年展、布拉格双年展、瑞典世界文化博物馆、德国波恩女性美术馆,并被法国、意大利、美国、加拿大、古巴的画廊和美术馆收藏。