2024，錄像、複合媒材，台北當代館

本計畫始於2019年至今所發展出的系列作品，以墨西哥女性殺害為核心隱喻，探討戰爭、國際關係角力與仇恨犯罪，所造成的集體消失現象。計畫於前疫情、南美洲疫情險峻時期與後疫情時代陸續進行，工作規模從結合專業電影工作者、藝術家與非相關領域的參與者（警衛公司、同志情色片製作人、從事街頭表演的邊緣家庭等）到藝術家獨立完成皆有，陸續於台墨兩地完成。作品引述犯罪者如犯下戰爭罪的神風特攻策略發明者大西瀧治郎、加州連續女性殺害犯約瑟夫．迪安傑洛 (Joseph James DeAngelo) 的相關自白與書寫，以及創作者筆記，呈現女性的集體凝視、男性的集體凝視與不斷復返的暴力，以及陰影之下的強壯與抗衡。

本計畫於2024年接續發展攝影系列，以近乎物哀的方式，嘗試捕捉墨西哥一地可見的、意識朦朧的、關於消失與存在的線條。此外，再以墨西哥跨性別女性主義學者 Sayak Valencia 所提出的「暴力資本主義」（gore capitalism）論述，評析墨西哥自後革命時期以來，以男性特質（macho）長期建構國家認同，透過與犯罪組織、警察機構與跨國企業進行政治共謀，將暴力合理化，有效強化國家市場，並成為推動與鞏固新自由主義資本流動的一環。最後，計畫與表演者田孝慈合作，透過廢棄航空城建構影像中的閾限空間（liminal space），隱喻女性的墜落、重返與強烈的存在。

2024, Videos, Mixed media, Museum of Contemporary Art

This ongoing project was launched in 2019, and has developed into a series of works. Using the murders of Mexican women as a central metaphor, the project explores the phenomenon of collective disappearance caused by wars, the struggle of international relations, and hate crimes. The project has been carried out intermittently before the pandemic, during the peak of the pandemic in South America, and throughout the post-pandemic days. Apart from the parts created by the artist independently, the project also collaborates with professional filmmakers, artists, and participants from unrelated fields (a security company, a producer of queer pornography, a marginal family engaging in street performance,etc). The project is completed in both Taiwan and Mexico.

The work uses the confessions and writings of Onishi Takijiro, who was a war criminal that came up with the strategy of the Kamikaze, and Joseph James DeAngleo, who was a Californian serial killer who targeted and murdered female victims, together with the artist’s notes, to portray the collective gaze of both women and men, the violence that never really ends, as well as the strength and resistance under the gloomy shadow.

This project is continued in 2024 to develop a photography series. In a way reminiscent of the “mono no aware,” or “an empathy toward things,” the series aims to capture visible, ambiguous lines in Mexico that speak about disappearance and existence. Moreover, through the lens of gore capitalism put forth by the Mexican transfeminist philosopher Sayak Valencia, it addresses the Mexican national identity shaped by the macho since the post-revolutionary era. Through politically co-conspiring with criminal organizations, the police, and transnational corporations, violence is justified to reinforce the national market effectively and incorporated as a means to facilitate and consolidate the neoliberalist flow of capital. The final part of the project is a performance in collaboration with performer Tien Hsiao-Tzu to create a liminal space in an abandoned structure in the Aerotropolis, which serves as a metaphor for women’s fall, return, and powerful presence.