Performances and installation
Art Space II, 2F
This installation work, inspired by Japanese research of girls, is a combination of theatre, moving images, and installation. During the Meiji era of Japan (1897-1906), a new genre of novels emerged known as “girl fiction”. It gave rise to the concept and use of the term “girl”. The term contains a certain level of ambiguity and vagueness. Deleuze references girls – whom he considers fluid among order, age, and sex – when discussing the concept of “becoming”. Girls as unlimited interlinking machines refer to both territorialization and deterritorialization. Where C-Lab sits has once served both industrial and military purposes throughout the decades. Recently, it has been repurposed into a site for contemporary cultural experimentation. True to the space’s experimental spirit, Chou’s work is presented in a transformed and deformed fashion to both affirm and confuse the viewer’s preconceived notions of the space.
Girl-Machine is Chou’s first installment of her Girl Erudition series. The overture will be performed on the exhibition opening day, followed by three acts which will be performed on 9th December 2018, 6th and 27th January 2019. The fictional girl in the work is based on historical, mythological, and manga characters; her bizarre way of regarding the future is interpreted through events death, resurrection, repetition, and violent oppression. By harnessing a girl’s power of the unknown and juxtaposing the Girl-Machine with the former Air Force Commander Headquarters (a complicated machine of sovereignty and history), will there be new developments and creations?
is a playwright and a director whose work has recently expanded to fields such
as dance, visual art, and new media art. Chou’s works include Fever 103° (script), Sylvia Plath(playwright), One
Hundred Years of Solitude (playwright), Sin City (playwright), and The Night of Sodom(text and development).
- Girl-Machine Overture
This performance is an exercise and a process of continuous death. Inspired by the character of Sonia in Anton Chekhov’s play Uncle Vanya, the performance consists of a series of manipulations of mechanical devices, objects, and bodies. In the end, the world becomes pink. Pink is just a color, it does not mean anything. This is how a girl – having managed to escape incessant attacks of symbolizations and metaphors – continues to live on in a barbaric ambiguity.
Girl-Machine Act One
After experiencing total annihilation and death, the souls of sacred girls are whispering; is there still no peace to be had? This is picnic in an implied morgue that is created through a series of manipulations of installations, behaviors, and bodies. This is the Revelation of a becoming-girl world.
- Girl-Machine Act Two
Wars, revolutions, and the world continue to be regenerated from subtle feelings, illusions, and unfathomable emotions. Jeanne d’Arc heard the voice of God as she lied upon a patch of green grass and recruited murderers and pedophiles alike to join her on a journey that would lead to the salvation of her beloved country as well as her death. In the mangaRevolutionary Girl Utena, the protagonist battled endlessly in pursuit of ill-defined love and loyalty. The story, which started and ended in darkness, is told through symbols and meanings derived from moments of oscillation between darkness and light. Girls exist in an unfathomable and uncertain state, which serves as foil for the nullity and beauty of existence, conviction, and politics.
- Girl-Machine Act Three (The performance includes slurry.)
Employing language, music, physical movements, and lighting, this act illustrates the process of transitioning from tranquility into chaos. It speaks of mental impairment and cruelty. The main protagonist was inspired by and developed from Antigone. Destruction is political, but what higher force is causing everything to fail? This is an investigation of the strange and equivocal relationships between death, certain death, self-inflicted cruelty, love for the body, and life.
*Admission to the four performances is free of charge. Prior registration is suggested and will be accepted on a first-come-first-served basis. If applications are oversubscribed before the deadline, we will stop accepting applications without further notice. Please visit rebase.clab.org.tw for full details. The organizer reserves the right to modify or cancel the event.
*Warning: These performances contain nudity and disturbing content that may be inappropriate for children. Viewer discretion is advised.