Comprising a two-channel film and a series of dispersed sculptures, the film installation follows a female protagonist as she encounters an ancient folktale woven into her daily life. On the left screen, she reads its narrative, while on the right, a male voice recounts the myth's patriarchal version. As she contemplates her own connection to the story, it begins to surface in her dreams—her journey questions whether she can defy the constraints of a predetermined fate and reclaim her power from the myth without being confined to a pre-written script.

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     Drawing from the evolving myth of Lady Meng Jiang—a Chinese mythical figure shaped by feudal and patriarchal values1—The Book of Meng Jiang (2023) probes whether a historical event and its literary forms can
be reinterpreted through a perceptual approach where the spectators’ role becomes paramount.2 Notably, prints of historical texts are attached to scattered plaster casts on the ground. These texts originate from records of differentversions of this mythical story throughout history, as an aporia of incoherence unable to reconcile. By reimagining themyth in an expanded cinematic space where contradictory terms collides, in dialogues, the work challenges traditionalretellings and explores a form of female agency that seeks to infiltrate and reshape the inherited narrative.

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1  Originally as a folktale, Lady Meng Jiang's husband was conscripted to build the Great Wall. Hearing no news, she traveled to bring him winter clothes, only to find he had died. Overcome with grief, her bitter tears caused the Wall to collapse. In despair, she finally took her own life in a river. 

2  Benjamin, Walter. (2003). Understanding Brecht. London: Verso.