Above 之上2.0

《之上2.0》發生在萬華區的老公寓五樓，於窗框與女兒牆上搭建一個長四點二公尺的原木平台，使藝術空間敞開，從室內延伸到室外，破除空間內外的阻隔。

《之上2.0》運用城市現場，回應台北市房價高昂的居住正義問題，以萬華區的老公寓與周邊都更大樓為背景，透過特定場域的設置、服裝設計和身份象徵，指向年輕人面臨居住與求職的難處。延續「飄浮身體」使用疏遠的觀看距離動搖旁觀者的情感，行為者以搖搖欲墜之姿，抗議社會資源競逐過程中的無力與無奈，透過情境陌生化喚起遠距離的關懷，危機所帶來的威脅間接提出現實處境的訴求。

“Above 2.0” happened on the fifth floor of an old apartment in Wanhua District in Taipei City. A 4.2-meter-long wood platform was built on the window frame and parapet wall to release the art space, extending from the interior to exterior, eliminating the barrier between interior and exterior of the space.

“Above 2.0” utilizes the urban environment to address the issue of housing justice amid the high property prices in Taipei City. Set against the backdrop of an old apartment building and surrounding redevelopment high-rises in the Wanhua District, the piece employs specific spatial arrangements, costume design, and identity symbols to highlight the difficulties young people face in securing housing and employment. Continuing the “Floating Body” series, it uses a distanced viewing perspective to unsettle the emotions of onlookers. 

The performer adopts a precarious posture to protest the powerlessness and frustration experienced in the competition for social resources, evoking distant empathy through the defamiliarizing context. The threats posed by the crisis do not form the primary appeal but rather indirectly highlight the demands of the current situation.