Video
《詛咒：最終女孩》
Curses: Final Girls
Multi-channel video installation
Film, 4K, colour, sound 5.1, 16:9
15’04”
Edition of 5 + 2 AP
2025
Film, 4K, colour, sound 5.1, 16:9
15’04”
Edition of 5 + 2 AP
2025
《詛咒：最終女孩》 是余淑培 Bobby 的個展與影像計劃，由林芷彤策展。作品源於藝術家對「被詛咒的女孩」的好奇：那些在恐怖片、都市傳說、民間故事與流行文化中被視為恐懼來源的女性形象，如果不只是被觀看、被害怕、被消費，她們自己的聲音和獨白會是什麼？
這個問題最初來自藝術家閱讀《午夜凶鈴》小說的經驗。與電影中作為恐怖圖像出現的貞子不同，小說揭示了山村貞子更複雜的背景、創傷與成為詛咒的動機。這使藝術家開始重新思考：一個女孩如何從受傷的身體變成詛咒？恐懼是否總是從暴力、誤解與無法被聆聽的聲音之中誕生？
展覽以「最終女孩」作為起點：她是恐怖故事中倖存下來的人，也是直視死亡、抵抗暴力、並承載恐懼記憶的人。作品借用女性主義對恐怖片原型的重新閱讀，以及媒體幽靈學的視角，追問為何某些女性形象會不斷以鬼魂、怪物、偶像、警告或慾望對象的形式回來。
展覽核心是一件多頻道影像作品，結合五個來自東亞與北歐想像中的被詛咒女性形象：鈴木光司《午夜凶鈴》中的山村貞子、台灣都市傳說中的人面魚、斯堪的納維亞民間傳說中的 Huldra、中國民間故事《白蛇傳》中的白蛇與青蛇，以及當代 K-pop 偶像。這些形象都被不同地域的焦慮、大眾媒體、美學標準與凝視系統塑造。作品並不只是將她們視為受害者或怪物，而是將她們重新想像為懂得偽裝、忍耐與變形以求生存的存在。
透過電影語言、裝置敘事與現場數碼介入，《詛咒：最終女孩》 思考恐懼如何被製造、流通與跨文化地繼承。作品追問：被詛咒的模式如何重複？生存如何成為一種共享語言？恐懼又是否能被轉化成集體照顧的形式？
余淑培 Bobby 與林芷彤的合作，源於一種共享的離散經驗與文化語言。姊妹情誼、幽靈性與變形在展覽中反覆出現，既是作品的主題，也是創作方法。作品在虛構與現實、投射與身體之間移動，將生存想像成一種共同聚集力量的實踐，而不只是個人的逃離。
這個問題最初來自藝術家閱讀《午夜凶鈴》小說的經驗。與電影中作為恐怖圖像出現的貞子不同，小說揭示了山村貞子更複雜的背景、創傷與成為詛咒的動機。這使藝術家開始重新思考：一個女孩如何從受傷的身體變成詛咒？恐懼是否總是從暴力、誤解與無法被聆聽的聲音之中誕生？
展覽以「最終女孩」作為起點：她是恐怖故事中倖存下來的人，也是直視死亡、抵抗暴力、並承載恐懼記憶的人。作品借用女性主義對恐怖片原型的重新閱讀，以及媒體幽靈學的視角，追問為何某些女性形象會不斷以鬼魂、怪物、偶像、警告或慾望對象的形式回來。
展覽核心是一件多頻道影像作品，結合五個來自東亞與北歐想像中的被詛咒女性形象：鈴木光司《午夜凶鈴》中的山村貞子、台灣都市傳說中的人面魚、斯堪的納維亞民間傳說中的 Huldra、中國民間故事《白蛇傳》中的白蛇與青蛇，以及當代 K-pop 偶像。這些形象都被不同地域的焦慮、大眾媒體、美學標準與凝視系統塑造。作品並不只是將她們視為受害者或怪物，而是將她們重新想像為懂得偽裝、忍耐與變形以求生存的存在。
透過電影語言、裝置敘事與現場數碼介入，《詛咒：最終女孩》 思考恐懼如何被製造、流通與跨文化地繼承。作品追問：被詛咒的模式如何重複？生存如何成為一種共享語言？恐懼又是否能被轉化成集體照顧的形式？
余淑培 Bobby 與林芷彤的合作，源於一種共享的離散經驗與文化語言。姊妹情誼、幽靈性與變形在展覽中反覆出現，既是作品的主題，也是創作方法。作品在虛構與現實、投射與身體之間移動，將生存想像成一種共同聚集力量的實踐，而不只是個人的逃離。
Curses: Final Girls is a solo exhibition and film project by Yu Shuk Pui Bobby, curated by Chih-Tung Lin. The project begins with the artist’s curiosity about “cursed girls”: female figures in horror films, urban legends, folklore, and popular culture who are often treated as sources of fear. If these figures are not only to be watched, feared, or consumed, what would their own voices and monologues sound like?
This question first emerged from the artist’s reading of Koji Suzuki’s novel Ring. Unlike the cinematic image of Sadako as an icon of horror, the novel reveals a more complex background: her trauma, her injury, and the motivation behind her becoming a curse. This led the artist to ask how a girl turns from a wounded body into a haunting force. Is fear born from violence, misunderstanding, and voices that were never properly heard?
The exhibition takes the figure of the “final girl” as a point of departure: the one who survives, witnesses, resists, and carries the memory of horror. Drawing from feminist readings of horror and media hauntology, Curses: Final Girls asks why certain female figures return again and again as ghosts, monsters, idols, warnings, and objects of desire.
At the centre of the exhibition is a multi-channel video work that brings together five haunted figures from East Asian and Nordic imaginaries: Sadako Yamamura from Ring, the Taiwanese human-faced fish, the Scandinavian forest creature Huldra, White Snake and Green Snake from Legend of the White Snake, and the contemporary K-pop idol. Each figure has been shaped by regional anxieties, mass media, beauty standards, and systems of objectification. In the work, they are not treated simply as victims or monsters, but as shapeshifting beings who camouflage, endure, and transform in order to survive.
Through cinematic language, installation, and an on-site digital intervention, Curses: Final Girls reflects on how fear is produced, circulated, and inherited across cultures. It asks how cursed patterns are repeated, how survival can become a shared language, and whether fear can be transformed into collective care.
The collaboration between Yu Shuk Pui Bobby and Chih-Tung Lin unfolds through a shared diasporic and cultural language. Sisterhood, haunting, and transformation recur throughout the project as both motifs and methods. Moving between fiction and reality, projection and embodiment, Curses: Final Girls imagines survival not as an individual escape, but as a practice of gathering strength among those who have been haunted.
This question first emerged from the artist’s reading of Koji Suzuki’s novel Ring. Unlike the cinematic image of Sadako as an icon of horror, the novel reveals a more complex background: her trauma, her injury, and the motivation behind her becoming a curse. This led the artist to ask how a girl turns from a wounded body into a haunting force. Is fear born from violence, misunderstanding, and voices that were never properly heard?
The exhibition takes the figure of the “final girl” as a point of departure: the one who survives, witnesses, resists, and carries the memory of horror. Drawing from feminist readings of horror and media hauntology, Curses: Final Girls asks why certain female figures return again and again as ghosts, monsters, idols, warnings, and objects of desire.
At the centre of the exhibition is a multi-channel video work that brings together five haunted figures from East Asian and Nordic imaginaries: Sadako Yamamura from Ring, the Taiwanese human-faced fish, the Scandinavian forest creature Huldra, White Snake and Green Snake from Legend of the White Snake, and the contemporary K-pop idol. Each figure has been shaped by regional anxieties, mass media, beauty standards, and systems of objectification. In the work, they are not treated simply as victims or monsters, but as shapeshifting beings who camouflage, endure, and transform in order to survive.
Through cinematic language, installation, and an on-site digital intervention, Curses: Final Girls reflects on how fear is produced, circulated, and inherited across cultures. It asks how cursed patterns are repeated, how survival can become a shared language, and whether fear can be transformed into collective care.
The collaboration between Yu Shuk Pui Bobby and Chih-Tung Lin unfolds through a shared diasporic and cultural language. Sisterhood, haunting, and transformation recur throughout the project as both motifs and methods. Moving between fiction and reality, projection and embodiment, Curses: Final Girls imagines survival not as an individual escape, but as a practice of gathering strength among those who have been haunted.
Credit
Starring: Chih-Tung Lin, Yu Shuk Pui Bobby
Cinematographers: Eddie Htet Aung Lwyn, Xifei Pan
Styling & Art Direction: Ji Jia
Sound Design & Mixing: Amy Chan Tsz Kwan
Co-producers: Hilde Herming, Tina Hanssen
Scriptwriter and Director: Yu Shuk Pui Bobby
Supported by: Norske Billedkunstnere
Technians: Benjamin Pompe, Anton Robsahm
Special Thanks: Abel Robsahm
Cinematographers: Eddie Htet Aung Lwyn, Xifei Pan
Styling & Art Direction: Ji Jia
Sound Design & Mixing: Amy Chan Tsz Kwan
Co-producers: Hilde Herming, Tina Hanssen
Scriptwriter and Director: Yu Shuk Pui Bobby
Supported by: Norske Billedkunstnere
Technians: Benjamin Pompe, Anton Robsahm
Special Thanks: Abel Robsahm