Performance
《人造瀑布》
Artifical Waterfall![]()
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GIF image, duration 2 sec.
Ólafsfjörðu, Iceland
2017
GIF image, duration 2 sec.Ólafsfjörðu, Iceland
2017
《人造瀑布》 是一場於冰島北部小瀑布前進行的行為作品。藝術家穿着辦公室服裝，將一個屬於行政、勞動與城市生活的身體，放置在冰島近乎原始而寒冷的自然景觀之中。
作品中的身體顯得錯置：辦公室服裝暗示規訓、效率、工作制度與社會角色；瀑布則指向流動、自然力量、地質時間與不可控制的環境。當這兩種語言相遇時，身體既像是在上班，又像是從某種制度中短暫脫離。藝術家站在瀑布前，讓人造的社會身份與自然的水流彼此對照。
《人造瀑布》 關注的是一種不協調的身體狀態：當一個被都市和工作制度塑造的身體，被放進遙遠的自然環境之中，它是否能真正回到自然？還是連「自然」也成為另一個被觀看、被消費、被想像的舞台？作品透過幽默而安靜的姿態，思考人工身份、女性身體、勞動形象與自然景觀之間的關係。
Artificial Waterfall is a performance made in front of a small waterfall in northern Iceland. Wearing office clothing, the artist places a body associated with administration, labour, and urban life within a cold and seemingly natural Icelandic landscape.
The body in the work appears displaced. Office clothing suggests discipline, efficiency, work routines, and social roles, while the waterfall evokes movement, natural force, geological time, and an environment that cannot be fully controlled. When these two languages meet, the body seems both at work and momentarily removed from work. Standing before the waterfall, the artist creates a contrast between an artificial social identity and the continuous flow of water.
Artificial Waterfall considers a state of bodily dislocation. When a body shaped by urban and working systems is placed within a remote natural environment, can it truly return to nature? Or does nature itself become another stage to be looked at, consumed, and imagined? Through a quiet and slightly absurd gesture, the work reflects on artificial identity, the female body, labour, and the performance of being natural.
作品中的身體顯得錯置：辦公室服裝暗示規訓、效率、工作制度與社會角色；瀑布則指向流動、自然力量、地質時間與不可控制的環境。當這兩種語言相遇時，身體既像是在上班，又像是從某種制度中短暫脫離。藝術家站在瀑布前，讓人造的社會身份與自然的水流彼此對照。
《人造瀑布》 關注的是一種不協調的身體狀態：當一個被都市和工作制度塑造的身體，被放進遙遠的自然環境之中，它是否能真正回到自然？還是連「自然」也成為另一個被觀看、被消費、被想像的舞台？作品透過幽默而安靜的姿態，思考人工身份、女性身體、勞動形象與自然景觀之間的關係。
Artificial Waterfall is a performance made in front of a small waterfall in northern Iceland. Wearing office clothing, the artist places a body associated with administration, labour, and urban life within a cold and seemingly natural Icelandic landscape.
The body in the work appears displaced. Office clothing suggests discipline, efficiency, work routines, and social roles, while the waterfall evokes movement, natural force, geological time, and an environment that cannot be fully controlled. When these two languages meet, the body seems both at work and momentarily removed from work. Standing before the waterfall, the artist creates a contrast between an artificial social identity and the continuous flow of water.
Artificial Waterfall considers a state of bodily dislocation. When a body shaped by urban and working systems is placed within a remote natural environment, can it truly return to nature? Or does nature itself become another stage to be looked at, consumed, and imagined? Through a quiet and slightly absurd gesture, the work reflects on artificial identity, the female body, labour, and the performance of being natural.