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Performance

Red Envelope

Year
2014
Medium
Online performance on WeChat
Location
WeChat
Poster forthcoming. Painting used as a temporary replacement image: Social Media Circle · Group No. 01 · 2015

Poster forthcoming. Painting used as a temporary replacement image: Social Media Circle · Group No. 01 · 2015

Poster forthcomingTemporary replacement imageSocial Media Circle · Group No. 01 · 2015
A WeChat receipt for a red envelope from Qiming Liu showing 0.01 yuan.

A WeChat receipt for a red envelope from Qiming Liu showing 0.01 yuan.

Red Envelope, 2014. Original WeChat system record of receiving one fen.
WeChat system notifications showing that Qiming Liu’s 100 red envelopes, totalling one yuan, have all been claimed.

WeChat system notifications showing that Qiming Liu’s 100 red envelopes, totalling one yuan, have all been claimed.

Red Envelope, 2014. Original WeChat system notification that all 100 envelopes had been claimed.
Qiming Liu’s own WeChat red-envelope summary showing one yuan sent in 100 envelopes in 2014.

Qiming Liu’s own WeChat red-envelope summary showing one yuan sent in 100 envelopes in 2014.

Red Envelope, 2014. The artist’s original WeChat summary: one yuan, 100 envelopes.
An empty WeChat red envelope with the message that all envelopes have already been claimed.

An empty WeChat red envelope with the message that all envelopes have already been claimed.

Red Envelope, 2014. Original WeChat system interface after the envelopes had all been claimed.

In 2014, Qiming Liu used WeChat’s red-envelope function to divide one yuan among one hundred participants. Each received one fen, or one hundredth of a yuan. The work unfolded as participants opened their envelopes and responded to this tiny sum.

In his commentary, Liao Liao interprets this small, equal gift as a transformation of the social obligations, prestige and relationships carried by traditional red envelopes. Sharing, interaction, equality and play become the defining features of an exchange that offers little material gain.

The public images show original system interfaces for receiving one fen, the completion of all one hundred envelopes, the artist’s own sending summary, and an envelope that has already been emptied. They document the mechanism of the work; private conversations and identifiable recipient lists are not reproduced.

In “One Yuan for One Hundred People?”, Dr. Peter Agni reads the participants’ shifting expectations on encountering the tiny sum as an important part of the work, and connects its humour to serious reflection on money and giving.