About
Mingxiang Wang is a London-based interdisciplinary artist working across Super 8mm film, moving image, and performance. Their practice sits at the liminal edge between research and provocation — testing the interplay between mediums, challenging the orthodox, and exposing the neglected, to present a spectrum of positions rather than a fixed answer.
/life as liminality
/archiving performativity
The work reconceives liminality not as the transitional phase between stable states but as the structural condition of being alive — the extended threshold between birth and death, within which all smaller passages are nested. To inhabit this condition knowingly is, in itself, a form of resistance: against entropy, against the taxonomies that demand legibility, against the quantification of what constitutes itself through its refusal to be quantified.
Running parallel to this ontological concern is a sustained research into archiving performativity: a practice-driven inquiry into how live and time-based work enters, resists, or exceeds the collection and archival systems built for other kinds of objects. The two strands meet in a shared refusal — to treat incompleteness as failure, to close what can be held open, to offer antidote where attention is what is asked.
/Bio
Mingxiang Wang is a London-based interdisciplinary artist and researcher working across video poetry, Super 8mm moving image, mixed-medium performance, and embodied archive systems. Born in Ngawa Tibetan and Qiang Autonomous Prefecture, China, Wang builds threshold spaces where private memory becomes public address, returning to questions of selfhood, diaspora, intimacy, mediation and who is allowed to be documented.
Wang trained in film and sound practice at Beijing Film Academy, studied Drama and Film Studies at the University of Sussex, and holds an MA with Distinction in Performance: Design and Practice from Central Saint Martins, UAL. This route frames the work as a combined-arts practice in which film, performance, fashion image, sound, installation and archive systems operate as connected methods rather than separate categories.
Works: earlier works include Endless Night, What a Small World and Interval. Since 2022, selected Collection Blue projects include Blue, Blue Dream, Liminal Stranding and The Blue Screen of Death. Across these works, the phone, toilet, monologue, blue screen and projected image become recurring devices for holding voice, memory, classed space, mediation and public-private life.
Events and activations: selected public contexts include Touch My Mumblings, Hug My Words, Kiss My Singing. Tokyo University of the Arts and (O)Kamemochi record the Tokyo context (1–4 June 2023) in which Blue and Blue Dream travelled to Denchu Hirakushi House and Atelier as a parallel Blue Dream activation. The Collection Blue chronology runs from Blue (2022) to Blue Dream / Déambuler (10 November 2022) and into Liminal Stranding (8 March 2023), staged at Platform Theatre as Wang's MA graduation work.
External records: selected third-party pages list Wang across dance, film and fashion-image contexts: Seeking Shadows with CIE. KEN NAKAJIMA at Rich Mix London, the short film LOVERS WALK on IMDb, and Chapter One: The Facade You Wore in KALTBLUT Magazine. The Blue Screen of Death continues this concern as Collection Blue's digital and archive branch: a rule-bound public record of the labour around self-represented practice, following Interval (2020) and including Shitalk as a social-media practice branch.
