Father, Dad, Daddy
Father, Dad, Daddy is an experimental video, which hybridizes with the abstract digital art, group performance, texts, 2D and 3D animation in cross editing. As a Queer artist, Wei looks at Western LGBTQ+ politics and identities through a cautious perspective. Western LGBTQ+ politics and identities are successful to improve the quality of life of queer people to some extend worldwide, yet these politics and identities completely developed by the experience of Western people, which have been formed as a global stander of civilization to request Global South to imitate. Some Asian queer theorists and sociologists concern that may drop into the process of ‘global homogenization’ and ‘homocolonism’. Under the process of economic and cultural globalization, these experts believe that decentring Western sociology is necessary by proposing the queer hybridization model (instead of local essentialism). The queer hybridization model aims to broaden the edge of queer theory, and develop specific Asian (Chinese) sexual experience, identities via considering the local cultural values and political ideology. This work, as a little footstone, discusses the feasibility of the queer hybridization model and tries to build Chinese queer identity to deconstruct the dichotomy in sex, gender and sexuality, challenge heteronormativity and homonormativity, avoid possible ‘global homogenization’ and ‘homocolonism’, and gain more attention for Chinese queer communities, who are suffering from the social prejudice, discrimination, and stigma, from the Chinese government.
Father, Dad, Daddy is inspired by El Lissitzky, the famous constructivist, and his work Beat the Whites with the Red Wedge. He worked for the Communist Party of the Soviet Union and created much artwork for political propaganda. Beat the Whites with the Red Wedge is one of them. The Red Wedge symbolizes the Bolsheviks, and the White Circle symbolizes its opponents. It is confirmed that the Communist Party of the Soviet Union helped to develop the Communist Party of China theoretically and practically, and they had a very strong bonding. Thus, Wei takes the two symbols and gives them new meanings.
Red, Triangle, with the red wall of the Forbidden City, symbolised the authorities, the mainstream ideology of current China, which is heteronormativity, and gender binary. White, Circle with 70’s Western homosexual pornography and Evans-Depress in Fire island, symbolised Western LGBTQ+ politics and identities. The changeable, fluid, and colourful triangles are the new symbol Wei created for the queer hybridization model. The group performance aims to show the pain and struggle of current Chinese queer people who are living with the problems.
The trailer of Father, Dad, Daddy is showing below. If you feel interested, please contact Wei to access the full work.