《尋找那位女士》Looking for “The Lady” , 2013
 

「活化廳」，香港
拍攝場景：觀塘EKEO辦公室、香港街頭
演員：柯念璞、陳可樂、陳劍青、李俊峰、Vangi、小川哲生

單頻道錄像、櫥窗裝置

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2013年12月11日，「建築雙年展」開幕儀式 在觀塘「起動九龍東」辦公室舉辦。過程中，台灣參展人遭受不當驅離，很難不讓同在 香港駐村、也同為台灣藝術工作者的我注意此事。雖然這麼說並不代表其他在此雙年展中紛 紛表態反對的香港及外國藝術家不值得敬佩。在經過一段訪談、追索之後,港深建築雙年展 的結構及操作方法實在令人驚艷，對比於台灣逐漸將藝術、文創作為經濟救贖的想像，「建築雙年展」不僅關乎經濟範疇，其背後之核心，恐怕直指政治問題(包含中國如何想像它的未來之問題)。

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在影片中，我們重演了參展藝術家柯念樸當天遭受「那位女士」(某疑似便衣警察、特務或保安人員)不當的驅離，試著將雙年展作為政治經濟籌碼的問題照射出來,這件事雖然僅是雙年展衝突的局部，但「那位女士」所代表的，可能是雙年展之手、是特首辦公室之手、更可能是推動香港貧富差距擴大之手。

 

2013 Bi-City Biennale of Urbanism/Architecture Hong Kong (UABB) 's opening was held at Energizing Kowloon East Office (EKEO) in Kwun Tong on 11 December , 2011. An Artist from Taiwan was evicted during this formal event, which attracted my attention as a Taiwanese artist taking part in a residency program in Hong Kong. I, in the meantime, respect also the artists who withdrawn from UABB. When art and cultural industries is becoming a kind of economic salvation in Taiwan, UABB is not merely about economy, but implicitly more about politics (implying the way how China imagines the future of Hong Kong) after my investigation of it.

 

The eviction process reproduced in my video attempting to reflect issues of political economy derived from UABB by emphasizing unreasonable action of "that lady" (suspected of plain-clothes police, secret police or security guard). Though this was part of the conflicts incurred by UABB, “that lady" was presenting/ implying the drive of UABB, Chief Executive's Office or more probably of widening disparity between the rich and the poor.