An experimental film essay that narrates the collective and personal memory of three generations of Asian women through the rooms of Japanese love hotels.

Japan’s Love hotels offer a private space for not only for sex, but for intimacy and freedom of expression in a culture that demands selfless conformity, especially women. In the summer of 2015, the artist went to Kyoto and Osaka with the intention of filming the changes of love hotel affected by the recent obscenity law. While Yang was there, she saw the transition of women from pleasing others to pleasing themselves in the transformation of love hotels. Yang incorporates the collective and personal memory of three generations of women in an Asian American family into the narrative journey of navigating the themed rooms in love hotels. Exploring these spaces as a metaphor for the female body.

A multimedia installation exploring the sensory environment and culture of love hotels in Japan. The show includes photography, installations, and a single channel projection of the looped film navigating the themed rooms in love hotels as a metaphor for the female body in contemplating one’s memory, sexuality, and cultural identity.

The installation provides an immediate historical and cultural context to experience the particular subjectivity of being an Asian woman within and without the diaspora. It represents an important departure from the traditional patriarchy, one that demands the role of women to ignore their own desires and pleasures in order to serve their husband, family, and society.

Based on a Skype exorcism and found footage, the filmmaker confronts her past growing up in the Evangelical prophetic and deliverance ministry.