Nyotaimori
2024
Lacquer, Wood, Bones, 3d printing in PLA, Mother of pearl, Gold, Sand
Dimensions Variable
The installation examines how the female body is positioned within systems of viewing and control. Tableware shaped after female bodily organs is placed on the ground and arranged into a cross, marking the body as something laid out for display, use, and judgment. The structure draws from Nyotaimori, in which the female body functions as a surface for food and for the gaze. Here, the body itself is absent, but its role is preserved through objects, and desire is treated as part of the same system as appetite. Above the installation, FuYue axes are suspended in the air. Historically used as tools of execution and long associated in Chinese history with military authority and state power, they introduce a constant threat that frames the act of looking below. While the tableware directs the gaze downward toward consumption, the axes hold violence overhead. Together, they situate the body between consumption and punishment, exposing how power operates through the gaze.
装置围绕女性身体在观看与控制体系中的位置展开。描绘女性身体器官的食器被直接摆放在地面上，并组成一个十字结构，使身体被标记为可被展示、使用与评判的对象。这一结构借用了“女体盛”的视觉逻辑，在其中，女性身体作为承载食物与凝视的表面存在。在这里，身体本身缺席，但其功能通过物件被保留下来，欲望与食欲被纳入同一套观看机制之中。 装置上方，斧钺（FuYue）被悬置于空中。作为斩首的刑具，它们在中国历史中长期与军权和国家统治权相关，形成一种持续存在的威胁，笼罩着下方的观看行为。食器将凝视引向地面，指向消费；斧钺则在上方维持暴力的悬置状态。两者共同将身体置于消费与惩罚之间，揭示权力如何通过凝视运作。
The installation examines how the female body is positioned within systems of viewing and control. Tableware shaped after female bodily organs is placed on the ground and arranged into a cross, marking the body as something laid out for display, use, and judgment. The structure draws from Nyotaimori, in which the female body functions as a surface for food and for the gaze. Here, the body itself is absent, but its role is preserved through objects, and desire is treated as part of the same system as appetite. Above the installation, FuYue axes are suspended in the air. Historically used as tools of execution and long associated in Chinese history with military authority and state power, they introduce a constant threat that frames the act of looking below. While the tableware directs the gaze downward toward consumption, the axes hold violence overhead. Together, they situate the body between consumption and punishment, exposing how power operates through the gaze.
装置围绕女性身体在观看与控制体系中的位置展开。描绘女性身体器官的食器被直接摆放在地面上，并组成一个十字结构，使身体被标记为可被展示、使用与评判的对象。这一结构借用了“女体盛”的视觉逻辑，在其中，女性身体作为承载食物与凝视的表面存在。在这里，身体本身缺席，但其功能通过物件被保留下来，欲望与食欲被纳入同一套观看机制之中。 装置上方，斧钺（FuYue）被悬置于空中。作为斩首的刑具，它们在中国历史中长期与军权和国家统治权相关，形成一种持续存在的威胁，笼罩着下方的观看行为。食器将凝视引向地面，指向消费；斧钺则在上方维持暴力的悬置状态。两者共同将身体置于消费与惩罚之间，揭示权力如何通过凝视运作。