| Wires are a very important part of my performance. I am suspended by wires during all performance that takes place high above the ground. Take 29 Levels of Freedom for example. It took place in Beijing’s most important business area, CBD, at a building called Jian Wai SOHO. I flew in and out of a window on the 29th floor of the building. I was hung by the wires from the 30th floor. The first shot was supposed to be the moment I flew out of the window. The instant I flew out I saw the cars on the ground—they looked so small—I was really terrified. But because it all happened so fast, and I had to focus on performing the movements, I let go of the fear. Even now, every time I’m doing a new piece, I still feel the same. |  |
Catherine Y. Hsieh talks to Beijing-based artist Li Wei.
Catherine Y. Hsieh: In your work, you often challenge the physical limits of human beings. Sometimes you float outside a window on the 29th floor. Sometimes you are tied upside down on a scaffold high above the ground. How do you do it? What is the process of your performance?
Li Wei: Wires are a very important part of my performance. I am suspended by wires during all performance that takes place high above the ground. Take 29 Levels of Freedom for example. It took place in Beijing’s most important business area, CBD, at a building called Jian Wai SOHO. I flew in and out of a window on the 29th floor of the building. I was hung by the wires from the 30th floor. The first shot was supposed to be the moment I flew out of the window. The instant I flew out I saw the cars on the ground—they looked so small—I was really terrified. But because it all happened so fast, and I had to focus on performing the movements, I let go of the fear. Even now, every time I’m doing a new piece, I still feel the same.
CH: In A Pause for Humanity, your wife and kid were involved as well. Your wife held the child and sat on a scaffold high above the ground while you were tied upside down right next to them. How did you persuade your wife to participate? When you told her your idea, how did she react?
LW: Before we did A Pause for Humanity, my wife had never seen me perform live. She was always scared and worried, so she couldn’t bring herself to go and watch. When I came up with the idea for this piece, I told her I’d like to do a piece about family, and I thought it’d be appropriate for the three of us to do it together. Showing her support for me, she agreed.
CH: Never Say Failure reminds me of Stephen Chow’s films, such as Shaolin Soccer or Kung Fu Hustle. What was your inspiration for this piece?
LW: Never Say Failure is an extension of my previous works. My work has always involved floating and height. But the previous pieces were done by one person, two, or three people tops. Never Say Failure involves more people with a background of a basketball court. I might have been inspired a little by the 2008 Beijing Olympics.
CH: Was Mirror.Milano. produced in Milan? Why did you choose Milan? What is the message behind this piece?
LW: I had a solo exhibition in Milan in 2004. That was when the piece was created. I always wanted to do performance around the world. And I was so attracted to the Duomo Church in Duomo Square, which is one of three famous cathedrals in Europe. It represents the European religious culture. I’d like everyone who sees my work to see the beauty of the Duomo Church and to appreciate its cultural significance.
CH: You are constantly engaged with difficult and sometimes dangerous performance. Are you worried that the audience or the media might lose focus on what you’re trying to convey and ignore the artistic value of your work?
LW: I’m not worried about this. I think there is a lot about my performance that people can relate to.
CH: As a performance artist, what do you think is the most important?
LW: I think movements, images, and videos are all essential. For me, every detail of a piece counts. Most importantly, it takes absolute sincerity to complete each piece.
