Under Skirt 裙底風光

Under Skirt 裙底風光

現場行為1小時三場、吊車、樹、現成物、單頻道行為影像7分56秒循環播放、聲音裝置6分鐘循環播放、影像輸出、透平片輸出、紙本文件、壁紙，依場地而定。
行為場地：華西公園，臺北，臺灣，2023／展覽場地：西本願寺樹心會館，臺北，臺灣，2024。
為期三年之臺北市都市發展局公共藝術計劃，從2022至2024年，包含四個階段：田調、民眾參與、駐村、展覽。

Performances 1hour x3, crane, tree, readymade, one-channel performance video 7 mins 56 sec loop with sound, sound installation 6 mins loop, photos, transparency print, paper documents, wallpaper, dimensions variable.
Performance Venue : Huaxi Park – Red-light district, Taipei, Taiwan／Exhibition Venue : Taipei City Archives, Taiwan.
Public Art Program by Department of Urban Development of Taipei City Government for 3 years from 2022-2024. Including 4 stages: remote researching, local community workshop, art residency for 6 months, group exhibition.

《裙底風光》計畫以現地行為為基礎，聚焦在城市現代化的空間正義問題。以龍山寺週邊起自1820年代的流鶯風景為例，針對此地區的相關從業者、女性身體、男性凝視提出回應與倡議，進而批判現有制度加劇性別不平等與社會階級差異問題，思考國家社會如何協助女性搭建擁有能動力的環境。

本計畫以現地行為為核心，包含前期田野調查、同相關婦女進行繪畫書寫與後期素材轉譯。其中，現地行為以個人的露餡擴展至空間的露餡，喚起在地民眾思考本區域的流鶯身體與男性凝視，運用居高臨下結構，將性產業中被標記為底層身份的身體，調度至高高在上的高處；藉由形式轉移象徵位階調度，安排光明正大的「觀看」與觀者「正視」的機會。行為期間，流鶯身體被架空於城市，以逆時針周旋徘徊，盤旋於行人、建築、車流之上；同時，她持續於籠中修剪樹木，樹木作為身體的鏡射，敘述流鶯在都市規劃中被修與裁切的處境。

回到龍山寺周邊的慾望地景，流鶯作為不斷被抹去的風景，是否得以風光地散步、對等的凝視他者、坦然地接受目光？位處灰色地帶面臨污名化的危機，性產業不只是從業者的現實問題，而是城市的歷史課題與地方的共同議題。

The “Under Skirt－The Grey Zone” site-specific performance project addresses spatial justice in urban modernization, focusing on the landscape of street workers around Longshan Temple in Wanhua District in Taipei City, where is knew as ILLEGAL red light district(was called GREE light district in Taiwan in the past) since 1997s, and has been in existence since the 1820s. It responds and advocates for the relevant practitioners in this area, female bodies, and the male gazes, further criticizing the existing systems that exacerbate gender inequality and social class disparities, pondering how the national society can assist women in constructing an environment with agency.

The project centers on on-site actions, including preliminary field researching, engaging with related women through painting and writing workshop, and the subsequent translation of materials. The on-site performance extends personal exposure to spatial exposure, prompting residents to consider the bodies of the street workers in the region and the male gaze. By employing an elevated structure, it raises bodies marked as lower class within the sex industry to a higher place; this shift in form symbolizes a shift in social hierarchy and arranges for a forthright “viewing” and the chance for viewers to “face” the situation openly. During the performance, the performer with the street worker’s body is overhead the city, circling counterclockwise above pedestrians, buildings, and traffic; at the same time, the performer continues pruning trees within the cage, with the trees reflecting the bodies of street workers, narrating the street workers had been trimmed and cut by the urban planning policy.

Back to the landscape of desire surrounding Longshan Temple, as the street workers serve as a constantly erased scene, can they walk with poised, gaze at others on equal footing, and calmly accept the gaze? Situated in a grey zone facing the crisis of stigmatization, the sex industry is not just a reality issue for those who work within it but also a historical issue for the city and locals.