Film
明知故犯
Wilfully Blindness
4K, colour, sound 5.1, 16:9, 11min. 16 sec
2020
《明知故犯》 是一部受 2016 年美國藝術市場醜聞啟發的短篇劇情片。作品借用浪漫劇的結構，重構藝術家、藝廊經理與收藏家之間互相糾纏的三角關係，在其中，情感慾望、職業野心與金錢交易變得難以分開。
影片邀請三位年輕藝術家演繹這場三角關係中的關鍵角色。隨着角色在誘惑、協商、背叛與崩潰之間移動，藝術品不再只是被買賣的物件，而成為親密關係被表演、價值被生產、權力被協商的媒介。看似浪漫的關係同時是一場藝術交易；看似專業的交換也充滿了渴望、操控與依賴。
作品拍攝於奧斯陸藝術學院，當時藝術家與大部分劇組成員皆在該校就讀。影片將藝術學院轉化成一個虛構的藝術世界舞台。片中使用多語言歌唱，包括法語與表演者各自的母語，進一步打開了表演、翻譯與慾望之間的關係。語言在此既是戲劇裝置，也成為距離、誤認與嚮往的標記。
標題 《明知故犯》 指向一種「知道，卻選擇不真正知道」的狀態。影片中的每個角色都參與了一個他們部分理解、卻仍然繼續維持的結構。作品追問：價值如何透過相信被生產？浪漫如何掩飾交易？而藝術世界的慾望系統，又如何依賴一種集體的視而不見？
影片邀請三位年輕藝術家演繹這場三角關係中的關鍵角色。隨着角色在誘惑、協商、背叛與崩潰之間移動，藝術品不再只是被買賣的物件，而成為親密關係被表演、價值被生產、權力被協商的媒介。看似浪漫的關係同時是一場藝術交易；看似專業的交換也充滿了渴望、操控與依賴。
作品拍攝於奧斯陸藝術學院，當時藝術家與大部分劇組成員皆在該校就讀。影片將藝術學院轉化成一個虛構的藝術世界舞台。片中使用多語言歌唱，包括法語與表演者各自的母語，進一步打開了表演、翻譯與慾望之間的關係。語言在此既是戲劇裝置，也成為距離、誤認與嚮往的標記。
標題 《明知故犯》 指向一種「知道，卻選擇不真正知道」的狀態。影片中的每個角色都參與了一個他們部分理解、卻仍然繼續維持的結構。作品追問：價值如何透過相信被生產？浪漫如何掩飾交易？而藝術世界的慾望系統，又如何依賴一種集體的視而不見？
Wilfully Blindness is a short fiction film inspired by a 2016 scandal in the American art market. Through the structure of a romantic drama, the film stages an entangled triangle between an artist, a gallery manager, and a collector, where emotional desire, professional ambition, and financial transaction become impossible to separate.
The film invites three young artists to perform the key roles within this triangle. As the characters move through scenes of seduction, negotiation, betrayal, and collapse, the artwork becomes more than an object of exchange. It becomes a medium through which intimacy is performed, value is produced, and power is negotiated. What appears to be a romantic relationship is also an art transaction; what appears to be a professional exchange is also charged with longing, manipulation, and dependency.
Shot at the Oslo National Academy of the Arts, where the artist and much of the crew were studying at the time, Wilfully Blindness turns the art school into a fictional art-world stage. The use of multilingual singing, including French and the performers’ mother tongues, further complicates the relationships between performance, translation, and desire. Language becomes both a theatrical device and a sign of distance, misrecognition, and aspiration.
The title refers to a state of knowing and not wanting to know. In the film, each character participates in a structure they partly understand but continue to sustain. Wilfully Blindness asks how value is produced through belief, how romance can disguise transaction, and how the art world’s systems of desire depend on forms of looking away.
The film invites three young artists to perform the key roles within this triangle. As the characters move through scenes of seduction, negotiation, betrayal, and collapse, the artwork becomes more than an object of exchange. It becomes a medium through which intimacy is performed, value is produced, and power is negotiated. What appears to be a romantic relationship is also an art transaction; what appears to be a professional exchange is also charged with longing, manipulation, and dependency.
Shot at the Oslo National Academy of the Arts, where the artist and much of the crew were studying at the time, Wilfully Blindness turns the art school into a fictional art-world stage. The use of multilingual singing, including French and the performers’ mother tongues, further complicates the relationships between performance, translation, and desire. Language becomes both a theatrical device and a sign of distance, misrecognition, and aspiration.
The title refers to a state of knowing and not wanting to know. In the film, each character participates in a structure they partly understand but continue to sustain. Wilfully Blindness asks how value is produced through belief, how romance can disguise transaction, and how the art world’s systems of desire depend on forms of looking away.
Cast: Yu Shuk Pui Bobby, Emilia Sølvsten, Jasper Siverts Signe Greve Persson, Johanne Maria Alminde, Lotte Lovise, Vincent Skretteberg, Lova Hiselius, Johanna Hoffsten
Writer & Director: Yu Shuk Pui bobbyProducer: Yu Shuk Pui Bobby Cinematographer: Rickard Aall
1st Assistant of Director: Jacky Jaan-Yuan Kuo
2nd Assistant of Director: Jinbin Chen Tianyi
Lighting: Emil Kjærnli, Pina Stroynowska
Assistant of Producer: Jinbin Chen
Sound Recordist: Hamid Waheed
Song Recordist: Martin Lie Svendsen
Sound Mixing: Isak Ree
Wardrobe Support: Avenue, Johanna Hoffsten, Yuchen Duaen
Artworks Support: Jacky Jaan-Yuan Kuo, Jinbin Chen Tianyi, Jørgen Herleiksplass Lie,Joel Billekvist,Yu Shuk Pui Bobby
Make-up Artist: Johanna Hoffsten
Editors: Bobby Yu Shuk Pui, Kinglun Yeung
Colorist: Kinglun Yeung
Support: Viken Ung-filmstipend Norway
Writer & Director: Yu Shuk Pui bobbyProducer: Yu Shuk Pui Bobby Cinematographer: Rickard Aall
1st Assistant of Director: Jacky Jaan-Yuan Kuo
2nd Assistant of Director: Jinbin Chen Tianyi
Lighting: Emil Kjærnli, Pina Stroynowska
Assistant of Producer: Jinbin Chen
Sound Recordist: Hamid Waheed
Song Recordist: Martin Lie Svendsen
Sound Mixing: Isak Ree
Wardrobe Support: Avenue, Johanna Hoffsten, Yuchen Duaen
Artworks Support: Jacky Jaan-Yuan Kuo, Jinbin Chen Tianyi, Jørgen Herleiksplass Lie,Joel Billekvist,Yu Shuk Pui Bobby
Make-up Artist: Johanna Hoffsten
Editors: Bobby Yu Shuk Pui, Kinglun Yeung
Colorist: Kinglun Yeung
Support: Viken Ung-filmstipend Norway