C. Tai Tai es una artista de performance que trabaja con el cuerpo y objetos para examinar los bordes rígidos que usamos para definirnos y a otrxs. Historicamente, ella ha usado el nombre Tina Wang en obras de danza
Los temas de sus obras son sobre la identidad, resiliencia, y pertenencia. Sus experiencias como una hija taiwanesa quién vivió en varios países latinoamericanas dentro de una subcultura estadounidense importada influye su arte. Las experiencias de su trabajos dentro de la “gig economía” también han aumentado el énfasis de resaltar las fuerzas sociales de fragmentación del valor del cuerpo humano en sus presentaciones. Al final de sus obras, viene una integración y descubrimiento de más de una manera sola de ser y expresarse. Ella empezó su carrera artística como bailarín contemporánea en Peridance Capezio Center. Ahora, los movimientos físicos de sus obras tienen influencia del yoga Iyengar y el atletismo de fuerza. Con el apoyo de residencias en Sable Art Projects (Vermont), programa de becas en EMERGENYC, en tutoría como artista inmigrante en el New York Foundation for the Arts (IAP), becas de Foundation for Contemporary Arts y California Arts Council, su trabajo ha sido presentado en varios teatros, galerías, exhibiciones y eventos en Nueva York, Oakland, y Phoenix.
C. Tai Tai is a performance artist based in Chicago, with roots in New York and California. Historically, she danced under the name,
Identity, fragility, and resilience are key themes in her work, which draws on her experience as a Taiwanese citizen raised in Latin America. By immersing the body around the objects of menial labor, she challenges assumptions about where these objects belong, who belongs with them, and their relationship to living bodies. Her performances create playful and dramatic relationships between human body parts and inanimate objects. She invites audiences to take a fresh look at differences between motion and stillness, animate and inanimate, human and non-human.
Tai Tai obtained her BA in dance and psychology at Washington University, and Certificate in contemporary dance performance at the Peridance Capezio Center. She has furthered her movement training with other dance (American Dance Festival), yoga asana (Iyengar), and fitness (Strongman) modalities. She is currently in the MFA program for Visual Arts at the University of Chicago.
Her work has been supported by the EMERGENYC 2020, Creative Capital's taller para artistas profesionales, The Sable Project, and the NYFA Immigrant Artist Program. Her work has been hosted by Judson Church, New York Live Arts, Governor's Island, The Exponential Festival, Breaking Ground Festival (AZ), Chashasma (UES), Dixon Place, the Immigrant Artist Biennial fundraiser, Nimbus Dance, and Chinatown Soup. Grants from Dance/NYC, California Arts Council, and The Foundation for Contemporary Arts have also supported her art making.
My work uses densely textured objects to ask questions about the unity of the human body and the life of still objects. I investigate how the body can be “discomposed” into object parts and how objects can be fashioned to a person so that the objects appear to have life. How does the stuff we use become part of us? How do we become mere stuff? I question whether creating a meditative atmosphere in performance involving abstract human body movement and objects that hold context of their own in society can be a way to open the imagination of the viewer in how they engage with other objects and people around them.
I have been influenced as an Asian-Latina immigrant who came to reside in the United States after growing up in Brazil, Venezuela, El Salvador, Mexico, and Taiwan. With that and a decade of work across the gig economy (service, dance, translation, yoga), my body holds vivid traces of the isolation, loneliness, and pressure to conform I felt throughout the many transitions. The memories have inspired me to make work rooted in the humor and resilience I needed to cope with varying and rigid norms. I consider how catharsis is a tool of community building-- how absurdist images and senseless labor can shed one's guard and open one up to others for dialogue. Performance became a process for me to create videos and sculptures. Videos and sculptures then inform future performances; this cyclical nature of art making is a reflection of the negotiation of individuals' fit to society.
Tina Wang began her dance training under Sonia Franco de Batres of San Salvador, El Salvador as a late beginner ballet student. While attending Washington University in St. Louis, she further trained in ballet, Horton, and jazz technique, gaining performance experience under The Slaughter Project by Cecil Slaughter. And then she persued training at Peridance Capezio Center’s 2-Year Certificate Program with the guidance of Liza Kovacs and Marlena Wolfe. When at American Dance Festival, she studied under Ming Lung Yang, Elizabeth Corbett, and Mark Dendy.
After intensive studies in ballet, Horton, Graham, and Limon, she worked with choreographers and directors in devised dance and theater works, including The Next Stage Project, Francesca Harper, Maija Garcia, Tatiana Pandiani, Mark Dendy, Melissa van Wijk, among others. Her training in Iyengar yoga and functional strength training (Strongman) have also influenced her movement ideas and forms. Most recently, she has performed in collaboration with other artists at the Park Avenue Armory, Pioneer Works, Brooklyn Museum, Eighth Floor, and The Watermill Center.
Other artistic influences:
Work with Ariel Asch has inspired her to place contemporary dance outside of traditional proscenium stage venues. Her experience working with Tamar Ettun and her Moving Company shifted the framework she thought about the potential of dance movement in collaboration with other mediums of art to focus on sharing the more poignant everyday experiences with audiences. Since then, she has pursued performance work with artists within the intersection of experimental dance and moving installations. Her work with Future Host's Tingying Ma pushed her to consider the possibility of researching the expressive and communicative capabilities of a silent and singular moving body in public spaces.
She also thanks Francesca Harper, Marlena Wolfe, and Maija Garcia for planting the seed of minimal but intensely still moments in dance performance, a seed that is fully explored and her performance art work today.
溪太太 是一位表演藝術家。2022 前她以 Tina Wang 的名稱創造舞作品。