In collaboration with Qiaochu Guo and hosted by Tianyi Zheng, Twin Hares was presented as a live performance and installation at "Prospects 2025" during Art Rotterdam (Rotterdam Ahoy). The project reimagines the canonical figure of Mulan through the lenses of trans embodiment, regional folklore, and the fading legacy of socialist mythmaking.

The work is geographically rooted in Tianyi and Qiaochu’s shared hometown—a place once branded by Mulan’s name to fuel a now-declining state-driven tourism industry, deeply intertwined with the remnants of socialist aesthetics. Rather than retreading the orthodox historical narrative, Twin Hares wanders through alternative folklore, popular fiction, and fringe rumors that surround the fictional heroine.

At its core, the project reflects on the "failure of heroism." By connecting our lived experiences as trans individuals with the poetics of self-destruction, we bridge two radical frameworks: in the trans context, the violent dismantling of the assigned body is a sacred threshold prior to the rebirth of gender identity; in the Chinese classics, self-destruction operates as an individual, highly symbolic act of vengeance and political resistance. Through a ritualistic performance merging wearable sculptures and edible art, the work reframes the vulnerable body as a site of defiance against decaying state ideologies and fixed gender binaries.


與酷兒藝術家郭翹楚合作並由鄭天依主辦，《雙兔》於 2025 年鹿特丹藝術博覽會（Art Rotterdam）的「Prospects」展區進行發表。
本計畫透過跨性別肉身實踐（Trans Embodiment）、地緣民俗與社會主義神話編造的消逝遺產，重新想像經典文學形象「花木蘭」。

計畫的田野根植於鄭天依與郭巧楚的共同故鄉——該地曾深度依賴「木蘭」之名打造國家級的觀光產業，如今卻面臨文化與經濟的雙重衰退。
這個地方印記著特定時代的社會主義美學與集體記憶。我們不再重複正統的宏大敘事，而是穿梭於圍繞著木蘭的民間野史、通俗小說與邊緣流言之中。

《雙兔》核心關乎「英雄主義的失效」。我們將自身作為跨性別者的生命經驗，與一種「自我毀滅的詩學」相互縫合：
在酷兒與跨性別的脈絡中，肉體與性別認同的碎裂，是通往身體重生的必經臨界點；
而在中國經典文本中，自我毀滅往往是個體進行復仇與象徵性抵抗的最激烈手段。
透過結合可食用藝術與穿戴式軟雕塑的表演，計畫反思了個體在宏大意識形態與體制消亡的夾縫中，如何以肉身作為戰場，編造出屬於當代的抵抗神話。