分類: 跨域 Cross-disciplinary

− 年度：2025
− 地點：軟輪畫廊，臺灣臺北
− 媒介：裝置、録像、現場演出
− 簡介：

臺灣策展人嚴淳齡策劃「反覆操演 Re-her-sal：觀衆入場」聯展作品之一。

以作夢為出發點，蒐集重鬱後開始創作的所有夢境文字、隨筆、排練筆記進行再創作，以影像與表演的形式，讓「原本想作的夢」成為《原本想作的夢》。

− Year：2025
− Venue：Gallery 80A, Taipei, Taiwan
− Mediums：Installation, Video, Live Performance
− Description：

As part of the group exhibition “Re-her-sal: Entering the Auditorium”, curated by Taiwanese curator Yen Chun-Lin, this work begins with the act of dreaming. It reinterprets a collection of dream journals, writings, and rehearsal notes accumulated since Shiou Fen Li began creating after experiencing major depression. Through video, installation, and performance, these materials are transformed into “After That Dream".

− 年度：2024
− 地點：臺北當代藝術館，臺灣臺北
− 媒介：裝置、聊天機器人、録像、現場演出
− 簡介：

本作結合對表演場域中厭女文化的觀察，從演出行銷、評論、演後座談文化出發，聚焦在表演「開始被談論」的時刻，以身體表演、錄像裝置及社群互動，探討語言如何建構表演場域的性別權力關係。

裝置與表演於 2024 台北當代藝術館首次發表，為嚴淳齡策展「反覆操演 Re-her-sal：預演」聯展作品之一。錄像於 2026 入選德國柏林 Public Shorts Festival，及台北昄社 RRR 短片放映計畫。

− Year：2024
− Venue：Museum of Contemporary Art, Taipei, Taiwan
− Mediums：Installation, Chatbot, Video, Live Performance
− Description：

after THAT draws on observations of misogynistic culture within performance contexts, examining performance marketing, criticism, and post-show discussions. It focuses on the moment when a performance “begins to be talked about." Through live performance, video installation, and a social media chatbot, the work explores how language constructs gendered power relations within performance contexts.

The installation and performance were first presented at the Museum of Contemporary Art Taipei in 2024 as part of the group exhibition Re-her-sal: Preview, curated by Yen Chun-Lin. The video version was selected for Public Shorts Festival (Berlin, Germany) and the RRR Short Film Screening Program (Taipei) in 2026.

− 年度：2024
− 地點：臺北市立美術館，臺灣臺北
− 媒介：裝置、行為演出
− 簡介：

臺北市立美術館開放網絡計畫 TFAM Net.Open 共域計畫之四「www.反轉資料庫.commons」聯展作品之一。

從遊戲及社群軟體裡虛擬角色的「捏臉」出發，將身體形象的展演轉化爲裝置與行為藝術，以經典命題性凝視（sexual gaze）及女性主義對情色器官與認同解離的討論，試圖回應 avatar 中的「ta 她」的他者性。

− Year：2024
− Venue：Taipei Fine Arts Museum, Taipei, Taiwan
− Mediums：Installation, Performance Art
− Description：

The work was presented as part of the TFAM Net.Open Co-Field Project at Taipei Fine Arts Museum. Beginning with avatar customization in games and social media, the work transforms the performance of bodily images into installation and performance art. Drawing on the concepts of the sexual gaze and feminist discussions of erotic organs and the dissociation of identity, it responds to the otherness embodied by the “ta/她" within the avatar.

− 年度：2023
− 地點：國家兩廳院排練場，臺灣臺北
− 媒介：程式藝術、舞蹈劇場
− 簡介：

為李秀芬「他們説這是愛」性暴力與展演計畫作品之一，且獲國家兩廳院前期研究支持。
此階段性呈現利用肢體舞蹈，和數位性暴力的常見載體——手機作為創作媒介，以互動表演的形式來探討當代社會中數位性暴力議題。

− Year：2023
− Venue：National Theater and Concert Hall Rehearsal Space, Taipei, Taiwan
− Mediums：Digital/Program-based Art, Dance Theatre
− Description：

Part of Shiou Fen Li’s long-term research project Murdered Love, Like Me was supported by the National Theater and Concert Hall’s Preliminary Research Program.

This work uses the body, dance, and the smartphone—a common medium through which digital sexual violence occurs—as its artistic medium. Through an interactive performance, it explores the issue of digital sexual violence in contemporary society.

− 年度：2022
− 地點：濕地 venue，臺灣臺北/線上
− 媒介：舞蹈、AI 藝術、聊天機器人
− 簡介：

為李秀芬與創作組合「即使我們生無可戀」獨立製作，《快樂的死》嘗試群衆募資並達標，而《永久離線》獲選文化部「藝 Fun 線上舞台計畫」。

此作結合舞蹈、人體辨識、語音辨識技術、聊天機器人等進行創作，探討科技社會與精神疾病之關係，深層討論精神疾病、死亡之於尊嚴個體之意義。

− Year：2022
− Venue：濕地 venue, Taipei, Taiwan / Online
− Mediums：Dance, AI Art, Chatbot
− Description：

Error After Life and Off-Life were independently produced by Shiou Fen Li and the collective Life Holds No More, Error After Life successfully reached its crowdfunding goal; while Off-Life was selected for the Taiwan Ministry of Culture’s “E-Fun Online Stage Program”.

The works combine dance with body recognition, voice recognition, chatbot technology, and other digital technologies to explore the relationship between technological society and mental illness, while further reflecting on the significance of mental illness and death in relation to individual dignity.