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台北耿画廊TKG+,TAIPEI 2013.04.27～2013.06.091989年两把野火烧痛了台湾社会,至今仍不曾歇息。而这把火借由苏育贤于台北耿画廊的个展“花山墙”多件平面摄影、一件叙事录像作品以及现场装置更烧出了美丽、悲凉的身后世界,同时映射着所处的在地现实状况的观察。此个展以唯一的录像作品串起了展示于展场空间中烧毁并倒塌的纸扎建筑,与多组的平面肖像作品。影像里运用第三人称视角与非常戏剧化的台语口白,并以片头片尾对称的叙事结构呈现了一个听来无他,却虚实交错的民俗式想像记闻。透过纸扎的台湾闽南式且艳丽缤纷的山墙建筑里,几个谨守人事工作制度、绘有简易五官线条且面部过于平滑的塑胶翻出模型人偶,在焚烧后的世界转运站等待着护送死者的船只抵达。他们的身份分别为:金童玉女、吹着唢呐的
Taipei Geng Gallery TKG +, TAIPEI 2013. 04. 27 ~ 2013. 06. 091989 Two wildfires have soreed the Taiwanese society and have not yet rested. This fire burned a beautiful and sad world behind Su-Hsien Hsien’s solo show “Flower Gables” in Taipei’s Geng Gallery, a narrative video installation and on-site installation. At the same time, The actual situation of the observation. This solo exhibition features a series of paper portraits that burn and collapsed in the exhibition space, with multiple sets of portrait portraits. The use of a third-person visual angle and a very dramatic Taiwanese version of the image in the film presents a folk-custom imagination with a symmetrical narrative structure ending in an animated film. Through the paper-lined Taiwanese Taiwanese architecture with gorgeous colorful gables, several plastic knock-out model dolls, with simple facial features and smooth facial features, are waiting for the staffing system at World Refueling Station Incineration Station The escort of the dead boat arrived. Their identities are: golden boy, blowing suona