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SU HUI-YU



攝影棚Studio-無題1980》開鏡表演_陳武康領銜演出 Performance _Untitle 1980_ Chen Wu-Kang-2

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THE TRIO HALL

VIDEO INSTALLATION, TIMEBASED ART, PERFORMANCE AND FEATURE FILM, 2023

What you are seeing is a “cinematic exhibition” or “exhibition cinema”, or it
can also be thought of as a place of audiovisual production, where members of
the audience can experience a process that entails drawing the storyboard,
production meeting, audition, rehearsal, martial arts training, choreography,
musical arrangement, and even being on site at the filming location. Finally, a
political comedy packed with thorny issues and hellish gags will be produced by
the end of the exhibition. This entire experience marks an interim conclusion
for my “Re-shooting” series, which asks: Why don’t we tackle chauvinism,
colonization, the Cold War, popular culture, mass media, and any pressing crises
and dilemmas all at once? This proposal reflects the current new Cold War and
extreme politics, and under such circumstances, what kind of humorous narratives
can this East Asian island nation of ours come up with? The narratives conjured
will then be widely circulated and passed down, as we exclaim to the world and
also at ourselves: What the hell is going on? 

 

 

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THE SPACE WARRIORS AND THE DIGIGRAVE

VIDEO INSTALLATION, WEBSITE AND MINECRAFT, 2023

IN EAST ASIA, DURING THE LAST DECADE OF THE COLD WAR FROM 1984 TO 1987, CTS, ONE
OF TAIWAN’S ONLY THREE OFFICIAL TV STATIONS AT THAT TIME, PRODUCED AND
BROADCASTED A VERY RARE AND WEIRD SCI-FI SERIES, SPACE WARRIORS. IT WAS
BASICALLY COPIED FROM THE JAPANESE SERIES SUPER SENTAI IN LATE 1970S WITH
MODIFICATIONS. AT THE SAME TIME, IT ALSO REFERENCED THE GAVAN, THE FOLLOW-UP
SERIES OF SUPER SENTAI, AND WAS MIXED WITH SOME LOCAL ELEMENTS. CTS EVENTUALLY
DISCONTINUED THE SERIES DUE TO LOW RATINGS, INCONSISTENT PRODUCTION QUALITY,
OVERT CRITICISM FROM PARENTS, AND THE IMPORT OF THE JAPANESE ORIGINAL ON VHS AND
SATELLITE TELEVISION. UNFORTUNATELY, THE SCI-FI DID NOT OPEN THE PEOPLE’S
IMAGINATIVE THOUGHTS ABOUT THE UNIVERSE AND THE WORLD, BUT RATHER, THE SERIES,
COMBINED WITH ILLOGICAL FANTASY AND CHINESE FOLKTALES AND EVEN MARTIAL ARTS
ELEMENTS, SUBTLY IMPLIED NATIONALISM, CONFUCIANISM, PATRIARCHY, AND OTHER
VALUES, WHICH WAS A VERY STRANGE AND UNIQUE EXPERIENCE DURING THE MARTIAL LAW
PERIOD.
DIGIGRAVE AND THE NEW SPACE WARRIORS ARE FRATERNAL TWINS, RESPECTIVELY
ASSEMBLING VARIOUS ESCAPING METHODS ON THE INTERNET, BOOKS AND PHYSICAL
SURFACES. THEY INVITE PEOPLE TO REVISIT THE COLLECTIVE EXPERIENCE OF THE
TAIWANESE SCI-FI GENRE. BASED ON MY PERSONAL CHILDHOOD MEMORIES OF MARTIAL LAW
DURING THE PRODUCTION AND BROADCAST OF SPACE WARRIORS, THE NEW SPACE WARRIORS
WILL ONCE AGAIN USE SCI-FI AS A LEVER, BUT IT WILL NO LONGER SERVE THE GRAND
NARRATIVE. INSTEAD, I WOULD CREATE A UNIVERSE OF MORAL PARADOXES IN WHICH ALIEN
RACES WOULD INVADE EARTH AND THREATEN THE SO-CALLED HUMAN VALUE
SYSTEM—NATIONALITY, IDENTITY, GENDER, AND EVEN THE CONCEPT OF “TIME”. IN THIS
CASE, ALIENS WHO ARE PERCEIVED AS OBSCENE AND EROTIC COULD LEAD TO THE
EXTINCTION OF HUMAN VALUES. ONE OF THE MAIN CONCEPTS OF THIS NEW NARRATIVE COMES
FROM JACK HALBERSTAM’S “QUEER TIME”, AS A LEVER, IT WILL INFLUENCE AND
REORGANIZE A CHAIN OF THOUGHTS IN MY CONCEPT, INCLUDING RELOCATION, RESET,
ANTI-PRODUCTION, ANTI-”CAPITALIST’S TIME”, ANTI-MALE AND CLASSICAL VIEW OF
HISTORY. FURTHERMORE, IT MAY THUS OPEN UP THE SCOPE OF THE CONCEPT OF QUEERNESS
TO INCLUDE A VARIETY OF SEXUALITIES AND ETHNICITIES. TO FUCK THE TIME, AS A
METAPHOR AND A RESISTANCE.

 

 

 

Future Shock 2022

1972, Toffler.

1972, Toffler.







1972, TOFFLER

MULTI CHANNEL INSTALLATION, 2023

IN RECENT YEARS, SU HAS EMPLOYED THE APPROACH OF “RE-SHOOTING” AS HIS METHOD TO
CREATE NEW WORKS, WHICH REVISIT PAST, UNFINISHED, TABOOED, AND MISUNDERSTOOD
FIGURES, EVENTS, AND THINGS. THROUGH HIS WORK, HE IS ABLE TO ACHIEVE NEW
REVELATIONS OR UNVEIL ACTIVE HISTORICAL VIEWPOINTS. SING SONG-YONG, THE
RESEARCHER OF THE EXHIBITION, THUS COMMENTS ON SU’S WORK IN HIS ESSAY WRITTEN
FOR THE EXHIBITION: “THE KEY TO THE UNIQUENESS OF SU HUI-YU’S WORK, IN MY
OPINION, LIES UNDOUBTEDLY IN THE FACT THAT HE ACUTELY CAPTURES POTENTIAL
MEANINGS OF PAST CULTURAL EVENTS IN RELATION TO HIS OWN GENERATION, THROUGH
WHICH HIS WORKS BECOME BOLD STATEMENTS ABOUT WHAT HAS NOT BEEN EXPRESSED IN THE
PAST.” AFTER BEING RE-INTERPRETED BY SU AND THROUGH HIS LENS, A NEW LIFE OF
CONTROVERSIAL OR SELDOM DISCUSSED WORKS FROM PAST ERAS EMERGES.

The title of the exhibition is inspired by American futurologist Alvin Toffler’s
book, Future Shock (1970), which was translated into Mandarin and published in
1972. In Su’s homonymous work, Future Shock of 2019, he utilizes the approach of
re-shooting to re-interpret Toffler’s masterpiece, from which he applies
keywords from new terms and notions proposed by Toffler to the narrative. Three
years later, Su presents his latest work, Toffler, Oliver, and the Last Man on
Earth, which continues the creative concept of re-shooting. However, different
from the previous work that has a narrative based on chapters, the video work in
1972, Toffler is divided into several frames, combined with photographic works
and sketches, which are shown in two gallery rooms. The images of the video show
an endless road trip of the last survivor on Earth, accompanied by Oliver, a
smart computer from the original book, invented as an aid to humanity. The
labyrinthian style of visual expression prompts the audience to piece together
the otherwise fragmented images by themselves, allowing them to choose their own
viewing angle to approach and understand the work.


REVENGE SCENES

PERFORMANCE/MOBILE DEVICES INTERACTION/LIVE-STREAMING, 2021

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Revenge Scenes by artists Su Hui-Yu and Cheng Hsien-Yu can be considered as a
live art and installation work developed from Su’s earlier work,The Women’s
Revenge. The work utilizes live streaming, augmented reality, and machine
learning among other techniques, to lead the audience back into the history of
social realism films and (female) exploitation films in the 1980s, where it
highlights the ambiguous similarities between social media culture and
exploitation films through the juxtaposition of the two. The work depicts the
contemporary media society’s portrayal of the body and further questions the
issue of body politics under new media technology. Revenge Scenes features live
performances with augmented reality elements. Through the audience’s assistance
in broadcasting, the images are shared on social media platforms and other
locations where the videos are redeployed in real-time.

In its passive exhibition form, Revenge Scenes is transformed into the form of a
crime scene instead of its performance version, where it continuously raises
various questions about our history and future, such as:

How long or how heavily have humans desired or depended on contents being
“live”? Since the dawn of imaging technology, how have “messages” collaborated
(or challenged) with reality? What is the current state of “mediatization” of
our bodies? How else can we train our bodies? Under the assistance and influence
of contemporary technology, can we further ease the tension and predicament in
issues as gender, sex, and physical body (even soul)?

Following on the reasoning above, if we further question our body, after this
transitional process involving body/signal, linear/non-linear, analog/codes, and
followed by the targeted placement and manipulation at the end of the process;
where will this finally lead us (and our desires) to? Can a future “technique of
desire” be expected? Can this be a calculated spiritual transcendence, or become
yet another self-surveillance, exposure, and betrayal of The Transparency
Society?




THE WHITE WATERS

MULTI-CHANNEL INSTALLATION/LIVE ART, 2019/2020.

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“Critical Point Theater Phenomenon” was established in the late 1980s by TIAN
Chi-Yuan and others.As the first publicly documented college student with AIDS,
TIAN and Critical Point not only launched a new era of experimental theater in
Taiwan, but also represented a significant moment in the history of gay culture.
In 1993, Critical Point presented its seminal work, “White Water”—a contemporary
reinterpretation of “The Flooding of Jinshan Temple” episode in The Legend of
the White Snake, which explored themes of homosexuality, love, and political
identity; and touched conceptually on the domain of the post-human and
anti-anthropocentrism.

The White Waters uses TIAN’s classic as leverage in a return to the classic
legend. The work focuses on imagery such as flood/fluidity, violence, sex,
gender, illness/death, post-human, and antianthropocentrism, etc., so as to
contemplate the numerous thoughts and fissures in both The Legend of the White
Snake and“White Water,” hence enabling the cognitive structures of desire, life,
morality, and identity to be laid bare once more. In form, the work utilizes
colors to create structurally distinct segments, and showcases the artist’s many
flights of fantasy regarding the above. The performance on video has been
enacted by Instagram sensation JONG Yi-Ling and Popcorn, an active participant
in Taipei’s drag community.




THE WOMEN’S REVENGE

MULTI-CHANNEL INSTALLATION, 2020.

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Prior to Taiwan’s lifting of martial law, a group of films influenced by the
European wave of exploitation movie was produced in the 1980s, including Never
Too Late to Repent, Woman of Wrath, On The Social File of Shanghai, Woman
Revenger and Queen Bee. This filmic genre featuring the motif of “women’s
revenge” would usually portray some severely oppressed heroines before
culminating in bloody plots of vengeance. In continuation of Su’s creative
context of “re-shooting” in recent years, The Women’s Revenge uses Taiwanese
exploitation movies as a starting point to reexamines the problems of body
regulation, seeking social novelty, modern discomforts and mediatized body. It
also discusses how plots based on feminism have been turned into exploitation
movies, reflects on the misunderstanding and exploitation of female sexuality in
the system of image, and exposes how the contemporary body is manipulated by
image technologies.

For the artist, these films point to a blackhole in history, in which a mixed
bunch of images devours possible clues to explore the life politics of an entire
generation. Formally speaking, the artist also takes part in the violent
vengeance upon men by transforming himself into one of the avenging women – the
box office guarantee for the 1980s Taiwanese cinema and the Best Leading Actress
of the 20th Golden Horse Awards, Lu Shao-Fen, with a peculiarly proportioned
body – through makeup and the technology of deepfake. The transformation also
symbolizes an attempt to understand and experience women’s world with a man’s
body.




FUTURE SHOCK

THREE CHANNEL INSTALLATION, 20’00”, 2019.

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In 1970, futurist Alvin Toffler’s iconic work Future Shock was published. One
year later, a translation hit the market in Taiwan, thus introducing the
writer’s theories to readers of Chinese. The premise of the book can be summed
up as: “A future that comes too quickly creates more apprehension than that of a
foreign land. Future society will be stricken with a plethora of choices,
throw-away society, information overload, and unethical technology.” The video
work was inspired by Toffler’s original, from which the artist adapted and
developed Toffler’s theories. The artist decided to shoot the film in the
southern city of Kaohsiung for its industrial facilities, modernist
architecture, power plants, commercial institutions, and deserted amusement
parks, which were driven by economic policies in the 1970s, but today evoke
feelings of strangeness and nostalgia for the city’s golden age. This past which
felt so futuristic 50 years ago is now both confusing and familiar. Future Shock
leads audience members to revisit retro Kaohsiung from a contemporary
perspective and look back as if in a dream at the influence of “modern” and
“future” when they were completely new concepts in Asia.




THE GLAMOROUS BOYS OF TANG (CHUI KANG-CHIEN’S,1985)  

FOUR CHANNEL INSTALLATION, 17’00”, 2018.

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In 1985, two years before the end of Taiwan’s martial law period, the renowned
poet and screenwriter Chui Kang-Chien’s (邱剛健) Tang Chao Chi Li Nan (trans: The
Glamorous Boys of Tang) was first screened in Taiwan. The film is a homoerotic
fantasy, and was therefore not well received due to the conservative atmosphere
at the time. The film’s first scene is an inexplicable exorcism ceremony which
includes dancing. Next, two pretty boys appear, and when their eyes meet, the
scene is suffused with their mutual fascination. The plot also includes
disturbing killings, death, and orgies accompanied by dissonant sound effects
made with a synthesizer, bizarre and gaudy set design, and ill considered
costumes. The combined effect is something like a cult film. Comparing the film
to the script held in the Taiwan Film Institute archives, it is obvious that the
film has been heavily edited or many sequences could not be depicted in detail.
Perhaps the filmmakers could not fully present the radicalism and passion of the
screenplay due to budget restrictions, censorship, or marketing concerns. More
than thirty years later, with new funding and film technology, Su Huiyu has
re-created the film to call together the differently gendered bodies and
subcultures of Taiwan’s diverse society. The four channel piece can be seen as a
re-shooting, a re-narration of the original 1985 version, or the next leg of its
journey.




L’ÊTRE ET LE NÉANT (1962, CHANG CHAO-TANG)

SINGLE CHANNEL VIDEO, 5’00” LOOP, 2016.

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This work is an attempt to reassemble(not interpret) Chang Chao-Tang’s famous
photo piece Being I (the translation of Chinese title is supposed to be Being
and Nothingness). The atmosphere of 1962 was darkened by the shadow of martial
law and the White Terror. It was an era when people’s thoughts and the feelings
had nowhere to go. This sense of stifling and emptiness happened to resonate a
little in tone with existentialism, the prevailing “trend in the world thought”
at the time. While this resonance had very little to do with comprehension, and
may have even been little more than a similarity in title (Jean-Paul Sartre had
published his book Being and Nothingness in 1943), it still precisely captured
the zeitgeist – a marginal zone of longing for freedom that was unattainable,
longing for truth that lay out of reach. Today when revisit the scene of Chang’s
Being I, we can’t help being abruptly shocked. That experience of being
suffocated, being incarcerated, that sense of being tightly constrained or even
a little terrified seems not so far away.

#1960s  #Being_and_Nothingness  #White_Terror

Chang Chao-Tang, Being I, 1962


NUE QUAN

DUO-CHANNEL INSTALLATION, 8’00”, 2015.

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Ne Quan was inspired by a boxed-corpse murder case that happened in 2001,
Taipei. Two men who met online went out for an erotic asphyxiation experience
which resulted in death of one of the man. The body was abandoned and all traces
were obliterated. Since this murder involved homosexual, online sex, SM and body
of a man abandoned in a suitcase, the media had depicted it with a mysterious
and dramatic perspective. The suspect, with his online nickname as Ne Quan, was
heavily criticized by the society and the general public. The Ne Quan murder
case reminds Su of dreams where he was involved in murder. Abandoning the corpse
became a direct reaction following the sense of guilt in his dreams. This work
has recreated the illusionized murder scene, by combining the artist’s personal
dream and the murder from the news, to make the audience reflect on sex, self
and moral justice in the modern society.

#Homosexual #Mass-media #Sadomasochism #Nightmare


SUPER TABOO

DUO-CHANNEL INSTALLATION, 18’00”, 2015.

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Adapted from historical texts, the narrative in the two-channel video artwork
Super Taboo came from a pornographic publication, which was previously known as
“a small book”, with the same title. In addition to illegal copies of
pornographic photos from Japan and Western countries, the undisguised
description of erotic scenes is now a mesmerizing vernacular Chinese literature.
In this video, the renowned actor Chin Shih-Chieh(⾦⼠傑) guides the viewers into a
surreal erotic scene by playing the role of an urban white-collar worker who
mutters the plots of the “small book” in his hands. The work leads us back to
the 1980s Taiwan. Pornographic content was then edged to the periphery of the
audio-visual system and merely tolerated by late night shows, secret rooms in
video rental shops, or inconspicuous corners in bookstores. However, banned
pornographic content tended to put greater erogenous temptation in our way than
that freely accessible to us did. Pornographic content holds its allure at the
expense of being salacious, nasty, and immoral. Physically pleasant sensation
seems to be perilous and ergo requires the endorsement by the transcendental
love or a social context as the foundation.

#Pornography #Forbidden #1980s 




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