“三種感知空間構成完整的展演量體，不僅包含建築中水平、垂直、機能、規範上的整合，更以展演打開了「此處」與「彼處」的感知範圍：第一處是口述者陳以文佇立的舞台，或者可以更限縮為透明講台內的空間；因為舞台上其餘大幅留白其實是讓渡給第二處的影像空間，穿越舞台深度與大部份寬度而投影在後方布幕上的錄像作品是另一處視覺領域；第三處則是中場休息時間以表演造成騷動的觀眾席，將之前單向觀看的鏡框式舞台延伸成全面但非全景的劇場空間。

The three perceptual spaces together form a complete performative structure, integrating not only the horizontal, vertical, functional, and regulatory aspects of the architecture, but also expanding the perceptual boundaries between "here" and "elsewhere" through the performance itself. ”

展演空間考：約束的場所中的感知共謀 溫語晨/ Clabo 實驗波

“《不知邊際、不知所謂事件》的複雜，一方面是它作為各式微型實驗室的組合體，另一方面則是它又具獨立影片或錄像藝術的自治體。誠然，擴延電影，或是它另種當代名稱，影像藝術絕對是此作的基因：上述幾件微型或獨立作品確認了自身作為影像再現、錄製與放映的自動性(automaticity)與擴展性(expansiveness)，但當它移師中山堂時情況有別，直接遭逢來自現場的挑戰。

The complexity of The Landless Events lies in its dual nature: on one hand, it operates as a constellation of micro-laboratories; on the other, it possesses the autonomy of an independent film or video art entity. Indeed, expanded cinema—or by its contemporary designation, moving image art—constitutes the genetic core of the work. Each of these micro or standalone pieces affirms its own automaticity and expansiveness in terms of image reproduction, recording, and projection. Yet, when transposed to Zhongshan Hall, the dynamics shift: the work is met head-on with the immediacy and challenges of the live setting.”

暴力批判的測震儀：簡論鬼丘鬼鏟《不知邊際、不知所謂事件》孫松榮/ 我下了車 光線明亮

東アジアの島に住むアーティストたちは、暴力に抵抗するため想像する いちむらみさこ × ヴァル・リー / etc.books

警治、警察與表演—李奧森《切割、破裂、凝聚、碾碎、警察》中的身體與動作問題 王柏偉／藝術家雜誌 Aug. 2023

“《警察》沒有媚俗地假裝大便不存在，歌頌光明場景。沒有忽視黑暗面，而是詩意地測繪黑暗現實。沒有迴避日常暴力，而是直面潛在暴力。沒有站在意識形態正確的立場（批判警察國家機器或頌揚警察國家英雄），而是擁抱人類身體物質的複雜性。不是用國家或媒體巨獸的方式均質化身體，而是抵抗對身體的規訓管理。沒有迴避死亡，而是在直視死亡深淵的前提下舞動曾存在的渺小生命。”

“The Police does not pander to kitsch by pretending excrement doesn't exist, nor does it indulge in hollow praise of luminous scenes. It does not shy away from darkness, but poetically charts the contours of grim realities. It does not avert its gaze from everyday violence, but confronts latent brutality head-on. It refuses to stand comfortably on the ideologically correct side—whether in critiquing the machinery of the police state or glorifying its so-called heroes. Instead, it embraces the messy complexity of the human body and its material existence. ”

假使，警察開始旋轉：《切割、破裂、凝聚、碾碎、警察》沈柏逸/ Clabo 實驗波

“「臺灣好像很容易把藝術家或導演當成大師，但其實不要太把藝術家或導演當一回事，我覺得導演的工作很像飯店的高級管家（butler），我在國外拍攝的時候都在跟警衛啊、大叔啊陪笑……今天就是我有兩個特別的客人，我要去猜他們的心思，不想要他們有任何的不適感，甚至在他們察覺到、說出自己的需求之前。」此處他如此地察言觀色、小心輕放的對象，並不是跟他合作的表演者，而是他邀請來 C-LAB 演講的兩位移工講者，Domi 和 Yvonne。

""The way I see it, there is a tendency in Taiwan to put artists and directors on a pedestal - but honestly, it's not that serious. For me, being a director is more like being a fancy hotel butler: always reading the room, making sure guests are comfortable before they even ask. "And here, the people she's paying attention to are not the performers, but the two migrant worker speakers she invited to C-LAB, Domi and Yvonne."

不動之動：意不在抵達的行動與書寫 沈克諭/ Clabo 實驗波

“作品在觀者自行移動的焦點，與燈光（曾睿琁）及聲響（羅皓博）調度間辯證展開。後段，更加進投影的長段落文字有如策展論述，闡述當代哲學對於警察暴力的批判思考，尤其它所具現的法的化身、內涵的例外狀態，它既是結構問題、又具現而獨一於暴力主體，「個人性的暴力如水面的波瀾，結構性的暴力是水本身。」字幕引自Johan Vincent Galtung；同時，也許對創作者更形重要則是，揭示出警治恆常是概念上的「他者」。

The work unfolds in a dialectic between the viewer's own shifting focus and the modulation of light (Ray Tseng) and sound (Lobo). In the latter part of the work, a long, more projected text reads like a curatorial statement on contemporary philosophical criticism of police brutality, in particular its incarnation of the law, the state of exception within, which is both a structural problem and an embodiment of, and unique to, the subject of violence: “Individualized violence is like the waves on the surface of the water, structural violence is the water itself. Subtitles by Johan Vincent Galtung; and, perhaps more importantly for the creator, the revelation that the rule of law is always the conceptual 'others'.

相同者的地獄：《切割、破裂、凝聚、碾碎、警察》李時雍/表演藝術評論台

“假如「概念」是一套解釋現實的裝置，舞台的機器（apparatus）正是導演概念的具現化，演繹對「警察」現象的理解。像是發軔於牆後的秘密行動，男舞者以臉緊貼著牆面，走進直射他雙眼的單側強光；四名男女舞者一組持防暴盾緩步前行，沿著牆後轉進前方楔形台座，像隻不懷好意的甲殼動物，橫移、後退、再攀上台座步道，規律換隊形並擾動群體直到光線渙散。

If “concept” is a set of devices to explain reality, the apparatus of the stage is the realization of the director's concept, interpreting the phenomenon of “police”. Like a covert operation with behind a wall, the performer walks with his face pressed against the wall into the strong one-sided light shining directly into his eyes; a group of dancers with riot shields walk slowly along the wall and turn into the wedge-shaped pedestal in front of them, moving sideways, backward, and then climbing up to the pedestal pathway again, regularly changing their formations and disturbing the group until the light disperses.“

無／意識的水《切割、破裂、凝聚、碾碎、警察》鄭文琦/表演藝術評論台

“對我而言，這一段落的魅力並不來自於其自我揭露或美學形式（儘管這個段落仍容易讓人聯想到在李奧森其他作品中出現的 lecture performance），而在於這個獨白帶出了無論是在表演藝術或視覺藝術中都時常被忽略了的生產關係。舞者與警察的相似性並非是模仿與類比，而是他們同樣以身體作為處理事件與應對世界的介面，因而處在持續運轉的狀態。

For me, the fascination of this passage comes not so much from its self-revelation or its aesthetic form (although it is still reminiscent of the lecture performances that appear in other works by Val), but rather from the fact that this monologue brings out a productive relationship that is often ignored in both the performing and visual arts. The similarity between the dancers and the police is not one of mimicry and analogy, but rather that they are also in a constant state of flux as they use their bodies as an interface for processing events and responding to the world.”

計畫、偏航、修復空間：探跨領域下的身體差異 沈克諭/ Clabo 實驗波

“回到台灣後不久和陳必綺成立了「鬼丘鬼鏟」，在大約 10 年的時間裡，以不接受補助、比較地下(underground)的方式進行許多大型現場藝術(live art)創作。當時我們透過類似維也納行為藝術派使用「行動草稿」(action script) 的方法，以無排練的方式，製造許多聚集上百名觀眾與素人表演者的現場事件。2016 年起，我開始更獨立運作「鬼丘鬼鏟」，無論是以個人名義或以鬼鏟名義創作，作品都轉向更強烈與精準的政治寓言，並大幅提升製作的規模和專業度。自此開始，錄像與現場的混合、不同質地的現場事件並置，現場部署、 研究如何與表演者合作、溝通，都成為努力的重心。

Shortly after returning to Taiwan, I founded Ghost Mountain Ghost Shovel with Hikky Chen, and for about 10 years, we created many large-scale live art works in a non-subsidized, more underground way. In 2016, I began to run it by myself, both as an individual and under the name Ghost Shovel, with a shift toward more intense and precise political allegory, and a significant increase in the scale of production. The scale and professionalism of the production has increased dramatically. Since then, the mixing of video and live, the juxtaposition of live events of different textures, the deployment of the scene, and the study of how to collaborate and communicate with the performers have become the center of the effort.”

在現實中尋找寓言 陳玟妤/藝術家雜誌 對話藝術家系列

“讓我們把時間拉到暴動後的「轉場」，在觀眾席之間瘋狂運動的表演者，並沒有離席，而是在燈光昏暗後，跟觀眾一起坐入觀眾席，一起觀看第三場的口白與影像，帶著身體互相交融在夢境般地影像與口白裡。暴動中拿槍的蒙面人、死去的屍體、漂浮的幽靈、影像中的石頭、沉睡的人、陳以文站在台上的身體、觀眾在場的身體，也相互在黑暗的環境中成為「死亡共同體」。然而，這並非是排斥非我族類，所建立的認同共同體（不是墨西哥人、台灣人或日本人的國族共同體）。而是屍體的、死亡的、暴力的、身體的、混沌、潛在的共同體，我們邁向死亡，投入黑暗，沉浸於「吞噬性體驗」。

Let's shift the time to the "transition" after the riot. The performers, wildly moving between the audience seats, did not leave the stage; instead, after the lights dimmed, they sat down with the audience, watching the third scene's monologue and images together. Their bodies intertwined in a dreamlike fusion of imagery and narration. Masked gunmen during the riot, dead bodies, floating ghosts, stones in the images, sleeping people, Chen Yiwen's body standing on stage, and the bodies of the audience in the space all became part of a "community of death" in the dark environment. However, this is not a community of identity based on excluding the "other" (not a national community of Mexicans, Taiwanese, or Japanese). It is a community of corpses, death, violence, bodies, chaos, and potential— a community moving toward death, entering the darkness, and immersing in a "consuming experience.”

暴力，無以名狀：鬼丘鬼鏟《不知邊際、不知所謂事件》沈柏逸/報導者

“雖然前述提及「事件之後」的餘生與來生，然而當文本敘事投放到映演場域之中，卻已不再訴諸於「事件之後」的事件之延展性，反倒是「事件即當下」的現場生產機制。這也使得觀眾席其實就跟講演中反覆提及的「蟲盒」並無二致——「蟲盒裡是否有⾵、有邊際？可以承受多少震盪？如果不斷折返，我們是否可以穩固事件？」。

Although the aforementioned refers to the afterlife and the life beyond the event, when the narrative is projected into the performance space, it no longer relies on the event’s extension after the fact. Instead, it emphasizes the mechanism of live production in the "event as the present." This makes the audience space essentially no different from the "bug box" repeatedly mentioned in the lecture—"Does the bug box have wind or boundaries? How much shock can it withstand? If it keeps folding back, can we stabilize the event?"

對世界性殺戮的知情，與過剩的駭人暴行《不知邊際、不知所謂事件》謝鎮逸/表演藝術評論台

“無論是李奧森之於 Live art 傳統類屬在視覺藝術，但更多時候是在表演藝術的設定場域進行作品發表，或是反過來看李銘宸是基於劇場底，但涉入更多大量當代視覺藝術觀點的跨越。這個年頭再談「跨界」雖已活像俗不可耐的陳腔濫調，然而以這兩位藝術家作為觀察在作品界域上的交互作用，仍有相當高的談論價值。

Whether Val Lee's work belongs to the visual arts tradition within the context of live art, it is often presented within the setting of performance art, or conversely, Ming-Cheng Lee ’s work is based on theatrical foundations but engages more with contemporary visual art perspectives. While discussing "cross-disciplinary" has become a cliché by now, observing the interactive dynamics between these two artists and their work across different domains still holds considerable value for discussion."

敘事變體：當代藝術複詞及其複象——回看《超級市場Supermarket》與《不知邊際、不知所謂事件》吳牧青/典藏Artouch