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Cici Wu with Yuan Yuan

Cici Wu with Yuan Yuan

André Pitol

 

Belonging and Difference (2023) is a short film and a long-distance collaborative endeavor between Cici Wu and Yuan Yuan. Together, they used 16mm film and digital video, with text written in Traditional Chinese and English, and a short voice-over narration in Cantonese. The work began with footage from East Broadway Mall in New York’s Chinatown during the pandemic, where workers describe both their expectations regarding working conditions and the actual circumstances in a neighborhood that is gradually becoming more vacant and transforming daily. It then moves to footage from Beijing, captured around the time of the White Paper Protest – both before and after – including scenes of quarantine, family life, memorial sites of June 4th, and an underground queer party, ending with footage from Hong Kong: the cross-harbor tunnel, which references the siege of Hong Kong Polytechnic University, a wound that still remains open.

At the heart of this work, the artists explore how the notions of “diasporic” and “migratory” are indexed, suggesting the potential of migratory aesthetics rather than territorial defense as an experimental means of repair – continuously narrating, expressing, liberating, and awakening. They search along manifold routes and pathways for ways to negotiate identity not through geography or nationality, but rather through flexible networks of social belonging and political alignment.

The memories of the isolation caused by transit and travel between Beijing, Hong Kong, and New York in 2022 and 2023 linger. Sometimes you’re ahead, sometimes behind. The world of life and the world of film occupy the same temporal flow, and as spectators – caught between horizons, blurred images, and unexpected breaks – we move between belonging and difference.

“Belonging and difference” is, in fact, the dimension that fundamentally shapes Cici and Yuan’s video work. But while the idea of belonging might suggest a sense of group or community unity, here it is much more closely linked to difference – as a productive force and a constant movement of transformation. Identity escapes this equation. An alternative notion of identity is put to the test: porous and circulating, discontinuous and errant.

André Pitol

Cici Wu (Beijing, 1989. Lives in New York and Hong Kong) creates mixed media works spanning drawing, film, sculpture, installation, and found materials. Her poetic installations approach memory and mobility, often blending rice paper, bamboo, and cinematic elements. Often taking local microhistories or archives as a point of departure, she uses the cinematic frame as a means to negotiate and reflect on the ways in which transpersonal narratives of social, cultural and historical belonging structure our experiences of self. She co-founded PRACTICE and The Room of Spirit and Time in New York. Wu has exhibited at major institutions and events, including the Rockbund Art Museum (Shanghai), the Drawing Center (New York), Para Site (Hong Kong), MMCA (Seoul), CAPC Bordeaux, the Asian Art Biennial (Taiwan), the Yokohama Triennale, and the Seoul Mediacity Biennale.

Yuan Yuan (1994) works with writing, moving image, and photography to reflect on belonging and displacement experienced by humans, both collectively and individually. Yuan’s practice explores the ties between human-made structures and the natural world, questioning how we position ourselves within landscapes, memories, emotions, and larger systems, often challenging anthropocentric views. With a background in literature and language, the artist treats writing as both a tool and a reflective space, evolving alongside visual forms. Yuan’s works often unfold through subtle gestures, dreamlike sequences, and archival fragments, tracing a world where artificial and organic, personal and collective blur. Yuan Yuan’s ongoing inquiry orbits around the tension between intimacy and estrangement, asking how we might rethink human presence quietly, and from the margins.