New
Art
City
Virtual Art Space
Help icon

Catalog view is the alternative 2D representation of our 3D virtual art space. This page is friendly to assistive technologies and does not include decorative elements used in the 3D gallery.

Catalog:

李敏如 Min-Ju-Lee

李敏如 Min-Ju-Lee Opened January 6th, 2022 View 3D Gallery
Poster image for 李敏如 Min-Ju-Lee

Statement:

《你殺得死我嗎?》2021
在新冠病毒肆虐全球下,人口的消亡已經數據化,對於死亡的感受性只剩下不斷攀升的數字。在遊戲的世界中我們可以不斷的死亡再重生,我們習慣了在虛擬世界中不斷逝去又重生的軀體,但是在現實世界中呢?生命的消逝已經成為數字了嗎?
特別感謝傷妝師:林昀萱

《Can you kill me? 》2021
With the COVID-19 ravaging the world, the demise of the population has been data-driven, and the perception of death is only a rising number. In the game world, we can die and be reborn again and again. We are used to the bodies that keep passing away and being reborn in the virtual world, but what about in the real world? Has the passing of life become a number?
Special thanks to the makeup artist: Lin Yun Xuan

《天下沒有醜女人,只有懶女人》2019
誘惑與挑興只是一線之隔。觀眾與藝術家之間主動與被動的關係解放了一場行動的革命。人的身體在視覺霸權的宰制下,擁有的是民主的造型。不斷透過他者的注視與標記在身上的各種符號,形象在各種隱性外力的出入中,身體不斷的覆上層層的薄膜。
《There are no ugly women, only lazy ones》2019
Seduction and provocation are just a hair's breadth apart. The active and passive relationship between the viewer and the artist liberates a revolution of action. The human body, under the domination of visual hegemony, possesses a democratic shape. Through the gaze of the other and the various symbols marked on the body, the image is constantly covered with layers of film through the access of various invisible external forces.

Artworks in this space:

你殺得死我嗎?Can You Kill Me?

你殺得死我嗎?Can You Kill Me?

天下沒有醜女人,只有懶女人There are no ugly women, only lazy ones (2019)

李敏如 Min-Ju-Lee

誘惑與挑興只是一線之隔。觀眾與藝術家之間主動與被動的關係解放了一場行動的革命。人的身體在視覺霸權的宰制下,擁有的是民主的造型。不斷透過他者的注視與標記在身上的各種符號,形象在各種隱性外力的出入中,身體不斷的覆上層層的薄膜。 Seduction and provocation are just a hair's breadth apart. The active and passive relationship between the viewer and the artist liberates a revolution of action. The human body, under the domination of visual hegemony, possesses a democratic shape. Through the gaze of the other and the various symbols marked on the body, the image is constantly covered with layers of film through the access of various invisible external forces.