i reach for a poem from you
Liu's ideas about his creations are often an observational use of metaphor talking about the existence of public awareness. Through his poetic and perceptual words, viewers are evoked to rethink the importance of the personal and public lives.
Disguised as a maid and with cleaning chores from Treasure Hill, we are trying to find the origin of the poems from the basis of life. The hanging lightbox is viewed as a clue. ”Reach for A Poem From you” converges with the darkness in the non-“complete” and “incomplete” spaces, offering an attitude of excess. All the plain poems come from the daily life. The blackboards as a look of installation in space, offer the future travelers and passers-by a place to note down their feelings. With accumulation of scribbling and erasing, all the memories down by words provide an illusion for the next visitors. Looking back, what poems trying to tell is our attitude towards life.
summer carpet
設置基地位於人們經常使用的空間，雖然林蔭環繞，卻缺少公園中被期待可躺可臥的綠地。在《夏日地毯22-36》計劃中，貼近的觀察二二八和平公園裡頭的這塊光禿的“綠地預定地”，從消費者對都會高價房市的權狀夢想出發，計畫在公園的花台上、被人們踩踏成黃土的林間，以房仲業者的角色，提出其所推銷的樣品屋空間平面圖為藍圖，將草皮如地毯般鋪設出被設計的私人使用坪數，在貧脊堅硬的地表上，試著讓草皮可以延伸出樣品屋所規範的私有領域。打破「公共空間」＆「私有空間」的模糊界限，藉由草地的自然生長，邀請民眾進入坐臥。
作品在仿造房仲業者呈現商品物件所打造出建案基地的精神標本，藉由人們對土地的開展，反轉用草植出「三房兩廳兩衛」的人工自然樣貌，回應本案古蹟修復再利用的創作脈絡，透過藝術創作的形式〝錯置〞既有土地的使用功能與價值。當這標本建置在人們過度踩踏的黃土上，其也意味將藉由草皮可拓展的自由繁殖，在我們有所感的公共空間，再造私有化，又將私有化反轉為公有化，利用草皮原生的可擴展性對照在建案法規中被意識的公共空間，提問「公共」於當代社會中介於模糊分際的解讀範疇
In this project, I take on the perspective of a real-estate agent and comes up with the conceptual marketing plan of “ Summer Carpet 22-36”. Starting with everyday consumer’s dream of highly priced property, and taking from the concept of “ ecological green reserved land”, the artist deliberately covers the given space with astro-turf. Similar to the lay-out floor plan used in model homes, the presentation is intended to construct a conceptual private property on a public realm. Based on people’s desires in owning real-estates and land, the astro-turf is used to portrary the layouts of a “ three-bed, two-living room, two-bath” or a “ two-bed, one-living room, one-bath”. At the same time, the objective of this art endeavor is to also encourge the public to contemplate about the values behind the restorations and reuses of cultural heritage sites.
western beef, eastern chicken, we know the neighborhood
這個名稱的來由源於 2010年六、七月在紐約的駐村期間，在布魯克林（ Brooklyn）與皇后區（Queens）行政區劃分交界處，追溯並拍攝工作室近郊的麥斯佩斯溪（MaspethCreek）。我以當地一間以肉品量販聞名的大型超市「西部牛肉」（ Western Beef）的商標口號（ slogan）「 我們所知的鄰里 」（ We Know the Neighborhood），作為我作品的名稱和發想引述的題材。這間超市正緊臨麥斯佩斯溪的支線之一，而環繞在這人工溪流的旁邊，皆是巨型原物料所在的地景，我把這條溪流作為旅行溯源的路線，拜訪各支流水域停滯僵固之處，如同拓荒者對山澗泉流發 源處的嚮往，並在不同時間利用攝影「臨摹」現場，以此提出未來觀者對影像的想像與拍攝者在現場真實所「見」之間所可能產生的誤差。
另一方面，這一帶被美名為「威廉茲堡產業園區」（ Williamsburg Industry Park），在當代消費與工業生產體系運作之下， 麥斯佩斯溪的地景反應的其實是污染源的「座標」與「指數」。除了當地產 業相關工作者外，相對於我的旅遊路徑所認識的「我所知的鄰里」，是充滿反諷、被消費所遮蓋的生活環境倫理。
「東部雞肉─我們所知的鄰里」的發想，受邀於立方計畫空間（TheCube project space）的合作計畫， 我以「西部牛肉」作為源起， 以「東部」作為暗喻遠東的辭彙，並選擇家禽類的「雞肉」作為同樣引發我即將認識的鄰里內容。以立方計畫空間作為開展的基地、台北公館地區販售雞肉的商家作為第一階段的線索，朝向引發販售者、展演空間與藝術家生產共同對「鄰里的認識」。在九月五日至九月三十日之間，以展出「西部牛肉」的部份影像作為起始，並將空間運用為臨時的工作平台，將此過程呈現於現場，提供「正在發展」與「對話」的展演機能。
The title of this work is derived from my residency in New York in June and July 2010, during which I photographed the Maspeth Creek in the suburbs where my studio was at the boundary between the Brooklyn and Queens boroughs. I used the slogan of a large supermarket Western Beef famous for its meat products, “We Know the Neighbourhood”, as the title of my work and my inspiration. This supermarket adjoins one of the tributaries of Maspeth Creek. The areas around this artificial creek are the sites where huge supplies of raw materials are stored. I followed this creek and visited the spots where the water was stagnant along its tributaries, just like a pioneer looking for the source of a mountain spring. Using photography to “copy” the sites at different hours, I tried to highlight the possible gap between how future viewers imagine the images and what was really “seen” at the sites by the photographer.
The area is euphemistically known as the “Williamsburg Industry Park”. In the context of contemporary consumerism and industrial production system, the landscape of Maspeth Creek shows the “coordinates” and “level” of pollution. The neighbourhood I know from the route that I travelled is full of irony, where environmental ethics is taken over by consumerism.
The concept of “Eastern Chicken – We Know the Neighbourhood” originated from a collaboration with TheCube Project Space. Taking inspiration from the name “Western Beef”, I use “Eastern” to suggest the Far East, and “chicken” as the theme of the neighbourhood that I am going to explore. With TheCube Project Space as the base of development, I identify the shops selling chicken meat in the Gong Guan district of Taipei as the first stage of my exploration, in order to stimulate a joint discovery of the neighbourhood by the shops, the exhibition space and the artist. From September 5 to 30, I will show some images of “Western Beef”, while using the space as a temporary work platform to showcase the process, providing a work in progress and starting a dialogue.
2009 streets i ran
Often times his work focuses on documenting the token of an event that has already happened, or observing those who were involved in the event and their behaviors. The image then created from the event can be seen as a reflection of the contemporary society. During work, he always tries to view the absurdities inside our social system with a seemingly subtle and sorrowful but ironic attitude.
"Streets I Ran" is a name I took from an album that Eyeless in Gaze recorded in 1990. The name is an accurate representation of my life and work in recent years, in which I was running forward, sometimes with hesitation, either intentional or not.
2009 bopiarts
2003年以底片記錄了『剝皮寮』被改變的前夕,論攝影的動機與再現與否隨之隱沒在這六年的時間，影像中可閱讀的出口，似乎在『被攝物』欣喜於「現狀」的改變，無預警下，驅使我成就六年前在『剝皮寮』所烙下的刻橫,而那正如其名的『剝皮』場景，最終不該有復原的打算。
以觀音摺印刷成的「剝皮三十一波」攝影冊，隱置在龍山寺供人散播的經文書籍中，展覽其間，以每日限量兩本凸顯其稀有與不易取得，在無須眥費的層架之上,與經文刊物比鄰堆疊；之外，「剝皮三十一波」也限量交付拾荒者，在收購廢棄紙類的同時，以此書作為現金收購的交易，從中散佈在巷弄的居民手中。
一如影像的隨機交歡，引發於不經意的刻意隱藏，在經籍忽明忽滅的群冊中，以「善」迫使的共存，與影像再顯已荒滅的跡象,在無法抵禦的矛盾中,其仍舊驅使著無法自離的街頭流竄，並以拾荒之名，交遞下一次影像的「自我衰弱」。
TBo, Pi, 31, Waves is a creative work combining performance art and photography. The three components consisting of the exhibition space, Longshan Temple, and the scavenger simultaneously embark through the art endeavor. There are numerous “Bo, Pi, 31, Waves” parallel-folded photo books on display, and the books are also transferred to be placed on the bookshelf with limited–supply free publications inside the Longshan Temple, where amidst the other free books, the photo pamphlets seem to be disguised amongst them. Furthermore, limited amounts of these books are also given to the local scavengers. While they are collecting recycled papers, they could use these books to barter for cash. The trading action would help to distribute these books to more people.
The artist has extended his work beyond the confinement of the exhibition space, and the work no longer stays silently inside the space, instead, since the beginning of the exhibition until the end is a process on the move. The realization of the work is not limited to only being looked at, behind the forlornness in the space and the image is an action being executed. Six years later today, the artist has brought out what he felt in Bolivia in 2003. Images formed by the fast-paced consumerism will always be easily replaced by even more exciting sensual impacts. The photo book ignites a trading mechanism with the scavengers, and seems to have foreseen the death of the image (Under the illusive magic created by the media, there is a strong force that is altering people’s subconscious and well-power, and as the bizarre trading takes place, the useful values in the images will be lessen. As the “magical light” within the images are completely inexistent, they will become obsolete.)
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