AND, AND, AND — Stammering: An Interview
In collaboration with Hồng-Ân Trương
Interview/Interrogation as Performance of Citizenship
2010 - 2014

“What defines the [multiplicity] is the AND, as something which has its place between the elements or between the sets. AND, AND, AND — stammering.”

— Gilles Deleuze

In this tutorial, participants who have never had to naturalize into the United States rehearse the process of becoming a citizen through an interview format. Those who have gone through a process of naturalization have the option to relinquish their citizenship. Within the span of a conversation-interview, participants help problematize the notion of allegiance and the structure of authority and power implicit in the state. Finally, this tutorial helps to underscore the ideal of responsibility to community and place, while also considering different forms of belonging through the concept of 'nomadic citizenship.'

AND, AND, AND — Stammering: An Interview is part of Radical Citizenship, a project conceived and organized by Mary Walling Blackburn. In Radical Citizenship, over 25 tutors, ranging from archaeologists to musicians, artists to ecologists, provide one-on-one tutorials with visitors to Governor's island, Angel Island, and the San Francisco-based organization Southern Exposure. Each tutor offers a separate deconstruction of citizenship, offering abstract and concrete examples and investigations of radical citizenship, an unregulated form of belonging.

View a PDF that includes research on the years of Chinese exclusion, which set the precedent for many contemporary immigration policies.

The opposite of looking is not invisibility. The opposite of yellow is not gold
In collaboration with Hồng-Ân Trương
Framed Archival Pigment Prints, Laser Cut Prints

The opposite of looking is not invisibility. The opposite of yellow is not gold reframes vernacular family photography from the artists’ experience as Vietnamese American women growing up in the U.S. in order to render material the invisibility that undergirds narratives about the Asian American experience. A cataloguing process juxtaposes photographs that suggest the performativity of the role of the artists’ mothers with excerpts from 1970s era U.S. Congressional hearings on Vietnamese refugees, highlighting the twofold invisibility of Ngô and Trương’s mothers' labor: firstly, in the institutional language of congressional reports which render refugees as pure labor, and secondly the obscured labor of their mothers as women. The highly personal vernacular images are re-contextualized here to raise questions about how labor is inscribed within a larger cultural narrative of race and gender politics.