非常榮幸受 Cheng-Ta Yu邀請，在母校 關渡藝術節的 KdMoFA 關渡美術館 哺挫 BOOCHOA 展覽發表

擬酷液得LiqueeredＸ《超完美女友當機趴體 Fucking-Super-Girlfriend Crash Party》 ！

這場展演計畫與開幕策劃受到今年出國展演的許多啟發，也在有限的經費內因為許多好友與新人力挺，從去年亞洲雙年展在Chim Pom作品上所聚的道上趴體，直到轉世花木蘭，此當機趴體絕對是本人歷年之創作新高峰。

免費入場，人數有限，

美什麼，藝術都不藝術了。
就為了讓你放下一切趴體投地。不管你的現實是幾點，在這場扮演開始都是即將凌晨的那點。

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”超完美女友當機趴體“表演計畫，透過一場派對讓不同表演者透過模擬網路情色直播與性愛機器女郎角色之展演形象介入現場，編織網路時代的螢幕中「完美女性」各種面向，延伸陰性書寫於後網路時代的實踐方法。表演穿越現場空間，進入到觀眾手機屏幕中，呈現多重視角的現場切片，再現屏幕框內框外之形象流變與慾望誘惑之展演姿態。將「當機」為現場身體展演文本指向「趴體」挪用Party的中文諧音，即「狂歡後」的身體狀態討論呈現科技父權面的「完美」架構之外的「錯誤」姿態。

《Fucking-Super-Girlfriend Crash Party》as a party, this project allows different performers to simulate the performance images of online pornographic live streaming and female sex robot, for onsite intervention, weaving the various aspects of a “perfect female” presented through the screen in the cyber age, and deriving the practical methods of feminine writing in the post-Internet age. Digital performers and audience engagement in live-streamed performances enable performances to transcend the onsite space and enter the phone screens of audience, presenting multi-perspective slicing of the live event, and re-enacting the performances of fluid images and lusts and temptations inside and beyond the frames. Using “crash” to refer the text of live performance to the discussion of “趴體 (lying down on belly), the Chinese transliteration of “party,” which is the physical state after “crazy partying,” this work presents the status of “error” beyond the “perfect” framework of the technological patriarchy.

l 《擬酷液得Liqueered》

昨晚我們才剛在這結束一場派對，你錯過了嗎？在23點47分那刻，愛波對著麥克風，造作地從塗抹豐厚唇蜜的雙唇間，發出意味不明的爆裂吼叫聲，瞬間的情緒波動差點讓為了掩蓋平頭的粉紅假髮掉落，左手仍沒落拍地同步效果器調轉至極限。後方手臂有刺青的場控男子應和著這份情緒，將各色燈光調至急速閃爍他其實不懂，但他知道這理當是一個高潮橋段。嗡太大的聲響導致我耳鳴，倚賴的雙瞳不斷地被重複曝光，認知像是幻燈影像般進入了流變的狀態。接著，現場被紅光全面籠罩，愛波瞬間溫柔地說：「我們現在都是女生。」，這個指令讓我頓時分不清現在是在線還是離線 ……

We just finished a party here last night. Did you miss it? At exactly 23:47 exploded into the microphone meaningless screams through her lips with thick, pretentiously applied layers of lip gloss; her instantaneous emotional shockwave almost made her pink wig that was intended to cover up her shaved head drop on the floor. Her left hand, without missing a beat, simultaneously turned the effects unit up to the max. The man with tattoos on his arm in charge of onsite control behind her played along with her emotion, and switched the lights in different colors to rapid gleaming…He really did not understand, but he knew this was inevitably a climax. Humm…the sound was too loud, it gave me tinnitus, and the pupils I relied on were being constantly re-exposed; like projections, cognition entered a rheological state. Then, the place was covered in red light, and, all of a sudden, A tenderly said: “We are all girls now.” This command suddenly made me confused with whether we were online, or offline….



More Information:

http://www.kdmofa.tnua.edu.tw/index.php?REQUEST_ID=bW9kPWV4JnBhZ2U9ZGV0YWlsJllZPTIwMTkmRUlEPTI3OA==

R.I.P. Gao

Media and society act in such a manner as to mutually reinforce toxic masculinity, male privilege, and patriarchy in Taiwanese society, as constituting something of a feedback loop.

"華山草原殺人事件之後，藝術份子成為台灣社會性強暴行為的替罪羔羊" by 丘琦欣

中文社論連結：https://www.facebook.com/523145257812546/posts/1561253937335001/

媒體和社會相互加強了台灣社會的傳統沙文主義、男性特權和父權結構，構成一個反饋循環（feedback loop）。⋯⋯⋯⋯