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“Choreo- Choreooo-, Caravaggio in Chiaroscuro,
Choreo- Choreooo-. oreo and kaleidoscope.

Derma- Drama- Derma- Drama- Derma- Drama- Derma- Drama- turgy”

Excerpts from “not dancing is not not dancing” (2022)




Through a carefully constructed A-to-Z framework, the performance-poem creates an index of keywords related to kinetics and kinesthetics in the museum (in the poem playfully called “MöMA”) context, as a parody of the ways in which knowledge is traditionally organized and presented both within and outside the museum space. By exploring these keywords, "not dancing is not not dancing" seeks to intervene established norms and perceptions by questioning the boundaries of what constitutes performance and how it can be experienced within the museum setting. Throughout this faux-catalog, paronomasia (a Greek term meaning “play upon words which sound alike”) often manifests as an approach to rhizomatic associations in everyday life. Presented at Tisch School of Arts, New York University.

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Excerpts from “Chorus: in the Style of MC Hyland” (2020)：





1.

Lost my moon on the merry-go-round. We were by the lake where I thought I saw Kant’s black swan. Quotidian absurdity. The moment winter began to lean upon your red-brick house. 2 a.m. aging. Zooming in, zooming out. You said writing with a pencil reminded you of what was somatic. Touch my Heideggerian hand. We haven’t called each other for long on the phone. Unattached from the emails and back to the letters. I got words before sentences but did I know the latter didn’t ever survive the former. Irreparable damages after an apology. The statue of RBG. You told me about the moment when you were literally before Before the Law. Mary’s hospitality. The sky is happening now but who is not nostalgic. What did you mean by breathing in poetry. Do I make an artwork neo-concrete by kissing it. Find Mnemosyne in every bird. The thinker seldom screams.

2.


The left right left vs. the right left right. Aloha is not the greeting word in New York. I was the one who had a hard time finding words but my dreams were all about how they were chasing after me. Art world dovetailed with service industry. I beg your pardon. Too many unavailing apostrophes. Certainly a great many brilliant papers on the modernist annus mirabilis are going to be published on its upcoming centennial anniversary. Translation or tranquilizer of the text. The contemporary as allochronicity. What if I know you are about to question the point of this collage and writing spree. Plato’s Pharmacy. Apotheosis of the technocrat. Algorithm please go ahead codify me. But after the so-called social critique you know Žižek would still go for his cup of coffee. We exclaim in a collective Encore! to desire and agony. Isn’t it somewhat tragic that where you live is prank-free. I forgot to tell you that I couldn’t help but improvise my existence on different occasions. Le pain vs. the pain. Pantheon for panther. My words or my wherewithal. No more eclogue no more elegy.



3.

Is Hyland my scapegoat or my muse. Death not only in Venice. Human, All Too Human. My childish hunger for a hug. I left the poem that started with Caravaggio in chiaroscuro incomplete. Tomorrow and tomorrow and tomorrow. A love-hate relationship with narratives. Cloud collapsing. Avoid looking at your own pixelated image during an online meeting. Digital mortality. How about those intra-pieces moments. Contact improvisation during Covid. I dance like texts. Do you know the locale whose name can be translated as Dionysian Bridge in Beijing is just as banal as elsewhere in the city. Discomfort with all the meaning-making. Graphs for my mood. Through Gmail you thought it would be more natural to write to a fellow Chinese colleague in English. Fading out into the low-res. Parnassus lost, Parnassus regained.





Chorus: Derrida, Heidegger, Kafka, Lygia Clark, Maureen McLane, Nathaniel Mackey, Anahid Nersessian, Montaigne, Joey Skaggs, Shakespeare, Avital Ronell, Margaret Ronda, Nietzsche, Thomas Mann, Nancy Stark Smith, Milton, Claire Bishop, Jonathan Culler, Matsuo Basho, Hito Steyerl, myself, etc.


Settings: Zoom, nocturnal wonderlands, digital non-place, “Dionysian Bridge” (Jiuxian Qiao), Brooklyn, Beijing, Biblical loci, etc.

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“不是的，早餐铺
已经关门了。不过，门前还有一棵
不再开花的槐树。就在你跳舞的时候，她决定
不再开花了。她说这里都是梦境不曾湿漉，但木鱼与珊瑚
又有什么分别。肋间肌处理记忆废料，耳骨也是，没有决定，
保存轻盈的狡黠。回旋、逡巡，
窗户在深夜不说话。一个苹果又接着，一粒石榴籽，又接着，
连绵的虚饰。缝隙在深夜不说话，只有你说，耳窝赤裸。石榴籽作骰子，苹果削成
十二面体模样，掷出2、3、5、7、11——迷局稳妥。耳骨与“11”的声音亲切，与投掷
苹果的声音不亲切。温吞不是取悦。醋碟儿在深夜不说话，包子不做骰子。一个苹果又接着，
十一个苹果，又接着，七颗石榴籽。名相蹊跷。就在你跳舞的时候，她决定——”

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有一种失传的技艺叫浪费时间 （2023）


纽约的遛狗人
一人牵五六只
分别带着各家的
秘密和心事
行进得却像一支队伍

冬天公园里人就少了
因为还得先添冬衣
还得乘地铁
地铁单程2.9刀
刚刚涨价的
已经三点
四点半要日落
小时候大人们说
冬不坐石
夏不坐木
准备活动太繁琐
心劲儿就过了

还有人在河边
推着婴儿车跑
把手拴着一只狗
跟着一起跑
一石二鸟
但其实
还听着播客
三位一体的爱

差点忘记他的初衷
是晨练了

做了两年游客
应当向他学习（但他
很可能是本地人）
会更加自信
更目中无人
在清教徒的土壤
为自己的生活
做主（毕竟主
已经死了）
也就无需
精神出口
转内销

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08

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如果不是冬天已经到来 （2023）


1.

地面凉，所以
脚趾都缩起来了
却懒得穿鞋

若没有镜子
就无需梳妆
快递盒在门口
三天没有拆
袜子洗一次
少一只

耐心只够
穿一回秋裤
吃一顿散伙饭

害怕无常的人
也害怕日常
硬币只有两面
饮食常常失真


2.

今天也是
颗粒无收

千秋，十夏
或是一冬，百春

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09

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墓园多米诺（2023）



答案
应接不暇

问题
只有一个

莲花
一个哈欠

打开抽屉
就是悔过




来了啊
小菩萨——

10

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芝麻开门 （2023）


为每一束发愿编织灯罩，它们
就变得柔和。藤须无忧心，
悬垂着一个个光影中
旋转的托钵僧。衣袖
净朗如初，无关物的始末。


如何醒来，悬铃木
在倒影中，清晨无来由。
没有月下时分，也许
我们都不再写作。未曾哀悼，
也无从知晓。


实相无从测度，因而
无可牵挂。


芝麻开门，
芝麻开门。

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窑变（2023）



1.

是夜晚
托梦的陶土

野生的
切面

来源
不可考

月面朝西
不问喜恶


2.

一朵菌菇
冬闲时分

偶然参悟
生命业态

梭梭树在
太阳风中

扑了个空




注：《窑变》为2023-2024年“语料系列”诗歌之一。“语料系列”将报纸刊物等现成语料重新编织、捏和，混入其他无法被追溯的记忆丝线。词语依旧保存着不同的语境的余温，在另一种织物关系中获得新的生命。
（p.s."The Kiln Change" is one of the poems from the "Corpus Series" for 2023-2024. The "Corpus Series" reweaves and kneads together existing materials from newspapers and periodicals, blending them with other untraceable threads of memory. Words still retain the residual warmth of different contexts, gaining new life within another fabric of relationships.）


本诗语料来源包括：
1.《绚丽极光背后的奥秘》，中国科学报，2023-12-04；
2.《5日将迎今年最小下弦月》，新华网 郑生竹，2023-12-04；
3.《新疆打造冰雪产业新优势（追着雪花看新疆）》，人民日报，2023-12-25；
4.《⼀朵菌菇的成长故事（传承“四下基层”精神）》，人民日报 孟祥夫，2023-12-25；
5.《坚持创新驱动 增强发展动能》，人民日报，2023-12-25；
6.《冰雪经济助⼒新疆⾼质量发展》，人民日报，2023-12-25.

12

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锈斑与彗星 （2024）



手推着影子，聚拢
一个夜晚。游丝
谄媚。雕塑隐藏
在石头之中
不懂陨落


等待使人
肃穆，还是
使人轻慢。时间坠入
结冰的湖。愿力
无需过度
收敛



即便
明朗有时
只是轨迹

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13

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A面是兔子洞，B面是历法 （2024）




我们编织度日，穿着

纸戏装。有多少逃避
促成的行动。离开寂静
就无法存在。筑巢
是一种策略

野雪就是
千人千床

世界的语言都在面前，要做的只是
潜入它的光晕

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梅瑟街的4月3日之前 （2024）





行走，滚动，

穿上一只鞋子

（然后

脱下它）

有时你擅长比慢

更慢的节奏。直到




重复不再是一种

徒劳——徒劳不再

是一种重复——而是

预料之外，一场

公路电影：“在顺义

寻找伊斯坦布尔”。以耐心

为容器，耕耘

比创造更扎实。




如果忘记

根系能撑起层次，我会望向

观察云岬的那双眼睛，跟随她




在胡同中穿行，找寻金鱼

的踪迹，白塔之下

知晓蝉鸣的巷道

以及一只猫咪

向她袒露的

小肚皮。




在世界的倒影中

着陆，或是

驶入不知名。我站在




梅瑟街，转身是

织染局。