蘇匯宇近期（2016-2020）錄像作品中的歷史參照、劇場性與性別操演

Historical Reference, Theatricality, and Gender Performativity in Hui-Yu Su’s Video Works (2016-2020)

臺灣錄像藝術家蘇匯宇（1976-），在過去27年間（1996-2023）創作不輟，長期關注身體在媒體、性、情慾、暴力等題材，創作歷程呈現階段性轉變。近年作品由寒冷色調轉向繽紛色彩，作品蘊含臺灣歷史檔案中非主流的文本，邀請素人演員、變裝皇后、舞者，嘗試突破常規對性／性別身體的諸多想像。本研究以蘇匯宇近年五件作品作為文本分析──〈超級禁忌〉（2016）、〈屁眼．淫書．速克達〉（2017）、〈唐朝綺麗男（1985，邱剛健）〉（2018）、〈The White Waters〉（2019）與〈女性的復仇〉（2020），討論蘇匯宇如何以歷史參照與文本挪用作為影像創製方法，透過編導策略建構劇場性的視覺語彙，並運用身體來言說性別操演的身分認同。

Taiwanese video artist Hui-Yu Su (1976–) consistently produced works from 1996 to 2023 with an enduring focus on themes encompassing the body in media, sex, desire, violence, and more. His creative career represented significant phases of transformation. In recent years, the characteristics of his artwork have shifted from cold to colorful vibrations, and his works of art have constantly utilized non-mainstream texts appropriated from Taiwan’s history, incorporating amateur actors, drag queens, dancers and attempting to challenge the conventional perceptions of sexual and gender bodies. The focus of this research is to re-examine Hui-Yu Su’s most recent works–Super Taboo (2016), The Walker (2017), The Glamorous Boys of Tang (1985, Kang-Chien Chiu) (2018), The White Waters (2019) and The Women's Revenge (2020). It aims to explore how Hui-Yu Su employs historical references and text appropriation as creative strategies for his creations, manipulates its theatrical visual rhetoric, and how he implements the concept of body to articulate gender performativity and gender identity in these five works.