I have no name
(2019)
I have no name
Having lived abroad for years, I often struggle to explain my origin due to Taiwan's complex history and cultural context. Foreign languages make it even harder to express accurately. The international political landscape has led to a search for living space and protection of long-term balance. Taiwanese people are known by various names internationally, like different nicknames. I question which one truly represents my homeland.
In this artwork, placed in a small loft 2 meters above the ground, visitors receive an audio guide and enter a tent. They squeeze each other to create standing space while observing the squeezed forms of others. They become both victims and perpetrators, but continue to listen to the audio, entering a meditative state. In just five minutes, I aim to immerse the audience in the conflicting and tranquil experiences, conveying the geopolitical issues and underlying insecurity of my homeland. It's a suffocating realization when they finally notice the pressure on their body and consciousness in the space.
Having lived abroad for years, I often struggle to explain my origin due to Taiwan's complex history and cultural context. Foreign languages make it even harder to express accurately. The international political landscape has led to a search for living space and protection of long-term balance. Taiwanese people are known by various names internationally, like different nicknames. I question which one truly represents my homeland.
In this artwork, placed in a small loft 2 meters above the ground, visitors receive an audio guide and enter a tent. They squeeze each other to create standing space while observing the squeezed forms of others. They become both victims and perpetrators, but continue to listen to the audio, entering a meditative state. In just five minutes, I aim to immerse the audience in the conflicting and tranquil experiences, conveying the geopolitical issues and underlying insecurity of my homeland. It's a suffocating realization when they finally notice the pressure on their body and consciousness in the space.
在國外多年生活的經驗，常常糾結於要如何解釋「我來自何方」。台灣本身複雜的歷史脈絡與各種不同文化情感，在外語的情境裡，更加無法精準的表達。我開始對於外媒對家鄉的稱呼感到疑惑或是陌生，國際政治的角力，讓大家彼此擠壓對方而尋找更足夠的存活空間，以保護長久下來的平衡。台灣人似乎可以在國際上擁有各種名字，就像各種外號一樣。但同時也問我自己，哪一個才是我故鄉真正的名字。本作品放置在一個離地約 2 公尺高的小閣樓裡， 觀眾會在入場得到一個 Audio guide，裡面的內 容引導觀眾爬上梯子然後進入一個帳篷，一次 最多可以有兩人進入。觀眾會在帳篷裡面透過 擠壓對方的空間，來為自己創造足夠站立的空 間，但此同時你也可以看到被擠壓的另一觀眾 的身形，觀眾在此時此刻變成掠奪彼此空間的 對立角色。彼此都是受害者也同時是加害者。 但同時他們仍然繼續聽耳機裡的話語，反而慢 慢的進入一個接近冥想而平靜的狀態。我企圖 在短短的五分鐘內讓觀眾置身於衝突與平靜之 中。利用觀眾在作品中所得到的身體經驗來傳 達故鄉所遇到的國際地緣政治問題與人民普遍 隱性的不安全感。這種不安全感是如同溫水煮 青蛙一般，在擁抱中逐漸窒息。在危險中毫不 自知.... 直到你意識到身體或意識已在空間中被 壓得喘不過氣來。