Forceful Catering unfolds as both a club experience and a catering ritual, feeding those who crave rhythm, touch, and intimacy.

Forceful Catering
Kexin Hao
Music: 10_r3n
Woodcraft: Marie Komatsu

“Forceful Catering” is a choreographic and musical performance rooted in the East and Southeast Asian tradition of preparing sticky rice cakes (mochi). The utensils used for rice pounding are transformed into experimental percussion instruments, producing bass rhythms that merge with electronic music. The physical act of pounding evolves alongside the increasing viscosity of the rice, tracing a dance of resistance and release.

Drawing inspiration from traditional Chinese folklore and rice-pounding work songs, this project reimagines these ancestral rhythms through contemporary narratives that confront present urgencies. Can a woman’s body become—not merely a vessel—but a source of force and penetration? What if acts of intensity and impact could lead not to violence, but to nourishment and care? How might the transformation of rice embody cycles of birth and death, fertility and decay?

The performance unfolds as both a club experience and a catering ritual, feeding those who crave rhythm, touch, and intimacy. “Forceful Catering” thrives on serving those who savor the pulse of beats and the tenderness of connection.

Kexin Hao is a visual artist born in Beijing (1993) and based in The Hague. She has an interdisciplinary practice across art, design, and theatre with a focus on performance. She combines a variety of media including video, printed matter, choreography, and music, while borrowing archetypes in pop cultures such as aerobic workout, video games, online streaming, puppet theatre, aiming to provide the audience with playful, participatory, and on-site experiences.

What lies at the core of her art making is the creation of experiences addressing history, society and cultural heritage through bodily engagement. She is interested in the human body in relation to collective memory and political propaganda, as well as the entanglement of human and pest in health and hygiene campaigns.

I am serving, you deserve
take a seat, it’s reserved
okay babe, it’s gonna hurt
but I am in the mood so don’t disturb

there’s no foreplay, no rehearse
no appetiser no dessert
it’s so wet and you will slurp
you will eat it you will burp

hold my fist and grab my wrist
take the hit and feel the grip I
lift the stick, drop the whip oh
it’s so big but I won’t quit

hit or miss or trip or skip
can’t predict, can’t resist
fist and wrist and lips and hips
take a sip, lick my drip

it’s so painful it’s so sweet
it’s a trap and it’s a treat
it’s the chill and it’s the heat
who’s gonna beat, who’s gonna bleed

it’s so painful it’s so sweet
it’s a trap and it’s a treat
it’s the chill and it’s the heat
I can’t breath, I can’t breath

who’s paying whose work
who’s doing house chords
who’s on couch watching sports
who’s cooking second course

I am aching I am sore
I will scream and I will roar
give me punch and give me more
I’m a wife, I’m a whore, I am tired, I am torn

daily routine, the mundane
who is to be entertained
who’s playing whose game
who attacks and who refrains

give me love and give me pain
give me impulse in my vein
unclog the pipe and plumb the drain
it’s gonna rain, it’s gonna rain