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The Face of Time 時代的消像

富士拍立得攝影, Canson 漫畫紙 51cm x 36 cm x 32件 , Full-HD 有聲單頻道錄影 | Fujifilm Instax photography, Canson Manga paper, 51x 36 cm x 32pcs, Full-HD Single  channel video with sound, 24'25" | 2013-2014


在世界的十字路口紐約時代廣場Time Square,絢爛奪目的巨型面板所建構的媒體城市奇觀,在這些巨型螢幕底下,有一群裝伴著各式卡通人物的街頭表演者,像是從螢光幕上活出在這不真實的場域,然而在這些裝扮者的面具下,顯露的確是來自於中南美洲的臉孔,這些人大部分來自於秘魯、墨西哥、哥倫比亞,在美國強大經濟體的壓制下,他們被迫遠離家鄉甚至非法偷渡到這美國夢的發源地,他們的臉孔被覆蓋在這些美式漫畫的卡通形象,藉由這些人們所熟知的卡通形象與觀光客拍照賺取小費,透過外在的形象餵養著被隱藏真實的自身,藝術家邀請裝扮者描繪自我形象的於漫畫角色設定的紙本上,並拍攝一張顯露出他們真實臉孔的拍立得照片,透過這些自我形象的重製,呈現出是一種自我消弭的變形,這些變態的形體,是這時代最真實的臉孔。


Like an unreal dream, in the crossroad of the world : New York Times Square, a group of people wearing cartoon costumes live beneath those giant dazzling screens. Under the economic repression of The United States, laborers from Peru, Mexico, and Colombia are forced to leave their home and illegally stay in the origin of American dream.Comic characters conceal their true identities. Earning money by taking photos with tourists, the well known outside image feed the hidden real self. The artist invites who dressed up in comic role to draw self-image and at the same time captures their true face by Polaroid photographs. Through these self-image remakes, the artist shows a self-eliminating distortion. These perverted forms are this era's most true faces.

Home-Less is More

錄影裝置 | Video Installation | 2013-2014


《Home-Less is More》以紐約街頭上隨處可見的流浪漢與華麗高聳的現代與裝飾主義風格的摩天高樓矗立建構出紐約的另類景觀,藉由Homeless文字上的字義與現代主義的精神Less is More,重新解構成一組新的字義“Home-Less is More”,透過交易購買流浪漢其書寫的紙板,重新拼湊成裝飾藝術(Art Deco)的經典建築—帝國大廈與流浪漢所書寫的字版,建構出藝術家眼中的紐約天際線,試圖揭露在極度裝飾的華麗外表下,顯露的卻是不堪殘破的陰影,而這陰影卻是來自真實世界的美國夢。


《Home-Less is More》 puts the everywhere homeless people together with modern decorated skyscrapers, forming a special scenery. By deconstructing the word “homeless” and combining it with modernistic phrase “less is more”, KUO develops a new meaning and the title “Home-less is more”. In the project, he purchased cartons from homeless people and used them to build the classic Art Deco style decorated building The Empire State building model. Forming a skyline in the artist’s mind, KUO reveals the dilapidated darker side of luxurious ostentatious appearance which comes from the real life American dream.

7000 X'mas Trees

裝置 |  Installation | 2014


紐約的聖誕節過後,總會在街頭看到許多被棄置的聖誕樹,德國藝術家波依斯(Joseph Beuys)於1982年在德國卡賽爾文件展開始進行的《給卡塞爾的7000棵橡樹》,而部分的作品被Dia:Becon藝術基金會收藏於紐約雀兒璽畫廊區22街,藉由波伊斯提出的社會雕塑概念,重塑出在資本主義導向下的社會雕塑,而節慶後的狂歡,也只剩下彷彿被釘在十字架般的空盒。



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