The Other Words – at Katzmann Contemporary, Toronto

Date: January 30, 10:00am – 13:00, 2016
As part of Duration & Dialogue Performance Art Festival/Symposium
Followed by a conversation with Johanna Householder (OCADU)
Chun Hua Catherine Dong with Robert Black

The Other Words is a durational performance that explores the otherness in translation. Translation is political, and translating a text is like chewing up rice and then feeding it to somebody else.  Dong is interested in transfiguration and transformation – the shape and form of languages, and how translation cuts across cultural barriers and begins to address how we relate to the world.

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Solo Exhibition – Visual Poetics of Embodied Shame – at The New Gallery, Calgary, Canada

Exhibition: January 8 – Feb 6, 2016
Opening reception:  Friday, January 8 at 8:00 PM
Performance will start at 8:00 PM

Admission is free and all are welcome

Visual Poetics of Embodied Shame examines the visual culture of shame in relation to the body, subjects and power in contemporary art. Over the past two years, Dong has been creating this series of works that integrates performance, photography, video, and installation. Her focus is exploring the visual culture of shame associated with vulnerability in its personal and socio-political dimensions, deconstructing the experience of shame through gestures, moments, and audience participation. In her practice, she considers feminism, globalization, and psychoanalysis, positioning shame as a feminist strategy of resistance — an ethical practice that seeks altered states of consciousness that possibly leads to restore dignity and humanity.

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Solo Exhibition – The Surface – at PAVED Arts, Saskatoon, Canada

Exhibition: November 6 – December 12, 2015
Opening reception: Friday, November 6 at 8 p.m
Artist Talk:  the PAVED Arts Main Gallery space at 7 p.m. on Friday, November 6, directly preceding the opening reception

The Surface brings together several video and photographic installation works by Chun Hua Catherine Dong. Shared among these works, for Dong, is the underlying premise that the body is political. She is interested in blurring boundaries between personal and political, between private and public, between performance and everyday practice. She has established her body as a visual territory, and a primary material in her artwork to activate social commentary on immigration, race and gender. Through encapsulating these global issues in microcosm or magnifying personal predicaments until they become universally visible, she presents the body as a defined and experienced reality, and locates herself at the nexus of author, artwork and audience.

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