On April 22, on the opening day of the exhibition "An Equivocal Contrast," artist Evelyn Taocheng Wang will present a participatory performance called "Peach Blossoms of Longhua". Like the layout of her paintings and handscrolls, she will also divide the time of the performance into three parts: inviting the audience to clean the art museum, practice yoga, and watch a performance. In the collage space created by her paintings and writing on the second floor of the museum, she will guide everyone to wander.
In the first part, artist Evelyn Taocheng Wang will lead everyone to clean the art museum, bringing mindfulness and simplification of life through a simple exercise. She believes that people often live with purpose and expectation, even when visiting an art museum, sometimes they hope to get an immersive feeling or are eager to achieve a certain result. Therefore, the artist leads the audience to clean a space that has already been cleaned, hoping that everyone will first enter a "void" state, pay attention to the state of the mind and body, and achieve tranquility.
In the second part, the artist will lead everyone to do a "amateur" yoga: leading everyone to feel their body again in the case of a cleansed mind and body. And in this process, everyone will again experience the texts of Eileen Chang and Agnes Martin.
In the third part, the artist will perform two songs - "Peach Blossoms of Longhua" and "Cold Green Lake". She has made a personalized choice of songs: "Peach Blossoms of Longhua" is a song by Zhou Xuan, which belongs to the 1930s like the Bund Art Museum in Shanghai, and can take everyone back to this unique era; The melancholic atmosphere of "Cold Green Lake" seems to reflect the artist's aspiration for the "feminine" temperament and beauty when she lived in this city.
Both Eileen Chang and Agnes Martin are reluctant to be called "female artists" and prefer to be seen as artists themselves, that is, not within certain constraints. Artist Evelyn Taocheng Wang also hopes that through this performance, everyone can feel that the experience in the museum is not confined to a certain period of time, but freely travels through different times and spaces.
4月22日，在“参差的对照”（An Equivocal Contrast）的展览首日，艺术家王伊芙苓韬程（Evelyn Taocheng Wang）将带来一场具有参与性的“龙华的桃花”。如同她的画作与手卷的布局，她将表演中的时间同样分割为三个部分：邀请观众一起清扫美术馆、练瑜伽、以及观看演出。在美术馆2楼，她的画作与书写共同创造出的拼贴空间中，引导大家游走其中。
第一环节中，艺术家王伊芙苓韬程将带领大家打扫美术馆，以一种质朴的练习，带来静心与简化生活。她认为，大家常常带着目的与预期生活，即使来到美术馆中参观，有时也会希望获得临场的感受或者急于得到某个结果。因此，艺术家带领观众打扫一个已经被清扫过的空间，即希望大家首先进入“空”的状态，关注心和身体的状态，获得平静。
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4月19日，艺术家王伊芙苓韬程在其行为表演彩排现场
在第二环节，艺术家将带领大家做一次“业余”的瑜伽：带领大家在清理过身心的情况下，再次感受身体。并在这个过程中大家将再度体会张爱玲和阿格尼丝·马丁的文本。
第三环节中，艺术家将表演两首歌曲——《龙华的桃花》和《翠湖寒》。她对歌曲作了个性化的选择：《龙华的桃花》是一首周璇的歌曲，与上海外滩美术馆的建筑同属于1930年代，能将大家回溯到这一独特时代；而《翠湖寒》的迷离忧伤气息，似乎映照着艺术家曾在这个城市生活时，对于“女性”气质和美的向往。
无论是张爱玲还是阿格妮丝·马丁，都不愿被称为“女性艺术家”，而是被视作艺术家本身，即不在某种限制之中。艺术家王伊芙苓韬程同样希望通过本次行为表演，大家更能感受，在美术馆中的体验不限制在某一个时间段，而是自由穿梭于不同时空之中。
