AMATEUR AV INTERVIEW-D1989
Inside this tent, you can become anyone, even yourself.
At the end of 2019, I started the project on “Amateur AV Interview-D1989,” interviewing people, regardless of sex, gender, race, appearance, etc. I attempted to liberate the beauty of bodies from the traditional AV industry. In addition, I created a private space, in which one could maintain their body's autonomy and sex.
The whole process of the interview was not entirely public. Rather, some private spaces were created in and isolated from various public spaces. The installation marked the boundary between the private space and public space. It worked as materialized and 3-D pixelation. The desires for peeping and eavesdropping of the audience outside were teased by the mosaic. The interviewee inside could confess honestly and experience the feelings of violating taboos.
The entire process of the interview was recorded via panoramic mosaic, 360 spatial audio, and VR 360. It was classified by signing a contract so that one’s privacy could be protected. Being interviewed in this space, the interviewee could freely choose the extent of pixelation and the unpixelated parts (panoramic mosaic by default). Only the parts chosen by the interviewee were left unpixelated (in contrast to the conventional practice in porn). The interview was not the fake interview that appeared in popular porn films. Rather, it was more about in-depth interviewing and experimental sexual practices. In the end, the relationship between sex, body, and power in different times and places were recorded using 360 cameras.
The aim of this project was not to entice the audience to demonstrate their sexual desires or to lead to an definite interview result. Rather, it was an opportunity to honestly self-reflect, violate sex taboos, and construct imaginations during the process of implementing the secret interview. It would thus bridge the past and the future. This process visualized the collective subconsciousness of the past, on the one hand. It could construct imaginations about the future transgression of taboos, on the other hand. At the intersection between visual art and the porn industry, “fictions” were created to break the confines of reality.
素人AV面試系列-D1989
進入後，你可以成為任何人，或是終於成為你自己。
2019年底，我開始了《素人AV面試系列-D1989》行為計畫，面試對象不限定性別、性向、種族、外在條件…等，試著將身體美感認同從傳統AV產業中解放，並創造一個真正主宰身體自主和性的私密空間。
整個面試過程並非完全公開展演，而是在不同的公眾空間中隔絕出私密空間。這層隔絕出公領域／私領域的薄膜，就像是實體化、立體化的「馬賽克」一樣。在薄膜（馬賽克）外的人，被這層曖昧遮蔽挑逗著窺視、偷聽的慾望；在薄膜（馬賽克）內的人，能夠赤裸地自我告解，經歷踰越禁忌的各種感受。
整個面試過程會以全景馬賽克、360 spatial audio、VR360影像方式紀錄，並簽約保障個人隱私。在這空間中面試，受試者可以自由選擇尺度及無馬賽克的部位（預設VR360為全景馬賽克），只留下受試者選擇的重要部位清晰（與傳統色情片相反）。面試內容並非典型Fake Interview的色情片問題，而是著重在深度訪談與最後實驗性的性實踐。最後，運用360攝影機的影像，紀錄不同地區、各個年代下，性、身體、權力之間的關係。
此計畫之目的不在於挑起觀眾性慾或面試徵選結果，而是藉由這保密的面試過程執行自我告解、踰越禁忌與虛構幻想，為過去與未來搭起一座時空橋樑：一方面顯影了過去的集體潛意識；一方面建構著未來踰越禁忌的幻想。在視覺藝術與色情影視的夾縫間，透過「虛構」來突破現實的框架。
AMATEUR AV INTERVIEW-D1990-VR
The audience re-visited different scenes for interviewing at different times and places via VR and 360 spatial audio. In VR, the body of the audience was located between the director and the interviewee. The audience could choose perspectives at will by turning around her own body in order to make a new VR porn film. Thus, the body of every audience became an AV editor. Moreover, every audience would watch her own porn film from her unique perspective mediated by her body.
Using the features of 360 imaging techniques, I changed the conventional power relationship of film production, starting from recording via editing down to watching. Going beyond male and female gazes, this quasi-queer perspective created the panoramic “pansexual” perspective enabled by 360 cameras. It was also an answer to my own protean sexual orientation. As the unidirectional, absolute power of the traditional camera was removed, the camera itself would not define its front and rear, so it would not exhibit a power hierarchy. Thus, the relationship between the director, the interviewee, and the audience as well as the relationship between watching and being watched, and the relationship of bodies was reinterpreted.
Moreover, pixelation was both visual and narrative. In Amateur AV Interview-D1990-VR, each story was shredded and collaged. They became threads with different textures being interwoven into a new web. The audience could get a gist of the story of a generation but could not get access to the privacy of individuals. Verfremdungseffekt was used as a narrative technique. it prevented the audience from indulging in the illusion of the drama. They could only occasionally throw themselves into the plot but also had to occasionally keep themselves apart from it. In the end, the audience here became the arbiter of aesthetic experience, who could reevaluate the direct and violent experience of erotic peeping of the past.
Sexuality is often seen as the most intimate part of the individual, but it also communicates the most pervasive problems in society. For example, during the more than two years of my Amateur AV Interview project, issues ranged from the individual body to the social body, including childhood sexual abuse and misogyny, the confessions of sex workers and consumers, depression, BDSM, and the role of the virtual. They reveal, say, the world’s two-dimensional eroticism, or the erotic undercurrents of the Hong Kong demonstrations… It turned out that what I was exploring was not about porn or erotica itself, but looking back at life experiences through these.
素人AV面試系列-D1990-VR
觀者透過虛擬實境（VR）裝置與3D空間聲音（360 Spatial audio）回到不同時空下的面試現場。在虛擬實境中，觀者的身體處於導演與受試者之間，並經由轉動身體選擇觀看視角，重新剪輯成一部新的VR成人片。於此，觀者的身體成了AV剪輯師，每位觀者將透過各自的身體去觀看專屬於自己視角的A片。
透過360影像新媒體的特性，改變傳統影像生產從「錄製」到「剪輯」再到「觀看」的權力關係。跳脫「男性凝視」（male gaze）或「女性凝視」（female gaze）的二元框架，以更趨近於酷兒理論的角度，創造專屬360攝影機的全景「泛性」視角，也回應著我自身不斷流動的性傾向。消除過去單向鏡頭的絕對權力，不再具有鏡頭「前/後」及權力「上/下」之分。重新詮釋「導演」、「受試者」、「觀者」三者間，看與被看的關係及彼此身體的關聯性。
不只是視覺上被馬賽克，敘事也被馬賽克。《素人AV面試系列-D1990-VR》作品中每個人的故事都被剪碎重新拼貼，像是一條條相異質地的線交織成一面新的網。觀者看得見整體時代下的故事輪廓，卻無法窺視其中個體的隱私。敘事手法運用間離（Verfremdungseffekt）效果，讓觀眾無法沈浸於戲劇幻覺，只能時而投入劇情之中，時而跳出共鳴之外。最終，觀眾於此成為審美經驗的主控者，重新審視過去直接且暴力的色情窺視經驗。
「性」常被視為是個人最私密的部分，卻也乘載著社會最普遍的問題。像是我在《素人AV面試》計畫執行超過兩年的過程中，議題涉及個人身體到社會集體，包含童年性侵而厭女、性工作者與消費者的自白、憂鬱症與BDSM、虛擬世界的二次元情慾、香港示威遊行時的情慾流動...。後來發現我在探索的不是在討論色情／情色本身，而是透過色情／情色回望生命經驗。
AMATEUR AV INTERVIEW-D1991
In the series of Amateur AV Interview-D1991, the interviewee actively took the lead in the production of the porn film cover, including choice of perspectives,composition,action,andstage properties. The director only worked as a tripod and shutter release cable. After photo shooting, the interviewee might freely choose the extent or whether to be censored. It was, however, fully censored by default. The only uncensored would be their sex organs, which was opposite to the porn conventions. Moreover, the definition of a sex organ was decided by the interviewee. Aside from genitals, one might assume the most important sex organs to be ears, lips, eyes, skins, or armpits. This reverse mosaic could create an internal space for expressing oneself and autonomous nakedness. In the meanwhile, the audience can rethink their voyeurism, a desire for nudity.
素人AV面試系列-D1991
在《素人AV面試系列-D1991》中，拍攝A片封面的過程全由受試者主導，包含取景角度、構圖、動作、道具…等，導演在拍攝過程中只是個相機腳架與快門延長線。拍攝後，受試者可以自由選擇尺度及無馬賽克的部位（預設封面為全馬賽克），只留下受試者選擇的性器官清晰（與傳統色情片相反）。「性器官」的定義由受試者決定，除了生殖器，有些受試者定義最重要的性器官是耳朵、嘴唇、眼睛、皮膚、腋下等。試著透過「反轉的馬賽克」創造一個讓受試者能夠陳述自我而自在「赤裸」（Nakedness）的內在空間；同時也讓畫外觀眾重新檢視自身窺淫「裸體」（Nudity）的慾望。
