City Strays and Wild Horses

劃線｜Demarcation

Video Installation, 17'12'', 2024

街頭狗｜City Strays

Video Installation, 08'25'', 2024

Supported by Han Nefkens Foundation

The tales of the horses and the dogs unfold from two distinct voyages.

The horses hail from Mongolia. The artist captured images along a boundary within Mongolia, documenting the contrasting landscapes on each side. This boundary separates the realms of the Przewalski's horse and the domestic horse: on one side, a 506 square-kilometer sanctuary protects wild horses, untouched and unaided by human hands; on the other side, horses live entirely different lives under human care, serving as children's companions, workers, modes of transport, sustenance, and sources of amusement. The Przewalski's horses in Mongolia appear more liberated than their domesticated counterparts, yet they live in a Truman Show-like existence, observed from the start and constantly monitored by zoologists (and tourists).

The dogs belong to Kosovo, encountered during the artist’s ventures through the streets of Pristina. At night, the artist merged with the packs of dogs, following their movements until they dispersed and disappeared. Locals shared the story of these dogs: during the late 1990s, as Serbian troops clashed with Albanian guerrillas, domestic dogs were abandoned on the streets of the battlefield. Since then, Pristina has become a scene of roaming dog packs, with occasional confrontations between humans and dogs.

Zoo Hypothesis: lecture performance

動物園假說：講述表演｜Zoo Hypothesis: lecture performance
Co-production by Theater der Welt & Taipei Performing Arts Center
lecture performance

2023

　

Dramaturgy: Betty Yi-Chun Chen

Speakers: Hsu Che-Yu | Chen Wan-Yin

Puppeteer: Kuo Chien-Fu

　

Zoo Hypothesis

動物園假說｜Zoo Hypothesis

Commissioned by Theater der Welt 2023, with support from the Han Nefkens Foundation

Video Installation

31'25''

2023

This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin.

The work is about a scriptwriter and a performer having a conversation in an animal taxidermist’s studio. They attempt to come up with a performance, exploring the relationship between ‘gestures’ and ‘horrors’.

The conversation revolves around two events from Japanese Taiwan during World War II. One is the memorial ceremony held in a zoo to commemorate animals that died during military operations. Animals such as elephants and orangutans were trained to kneel as a symbolic posture for mourning. The other reference is the 1944 massive animal execution in the Taiwanese zoo, intended to prevent civilian casualties caused by animals after the US military had bombed the cities. The unfortunate animals were then turned into taxidermy to preserve their movements and postures.

In addition to the dialogue between the two characters, both the Taiwanese Zoo and the zoo's taxidermy studio were architecturally reconstructed using 3D scanning technology.

Blank Photograph

空白相片｜Blank Photograph

Produced by Le Fresnoy - Studio national des arts contemporains

Video Installation

20'29''
2022

This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin.

A terrorist revisits the seashore where he practiced bomb-making and goes back to his home where he speaks a story about a suicidal scene. 

In 2003, Yang Ru-Men placed bombs on the city of Taipei more than ten times. Yet, none of the bombs was ignited. Yang’s action was later regarded as a struggle for farmers in the same vein of anti-neoliberalism and his sentence was mitigated. A few years after he was released from jail, his brother committed suicide at home.

In this work, Hsu Che-Yu invites Yang Ru-Men to perform at two sites: the seashore and his house. At the seashore where he practiced bomb-making, he reenacts an operation and discusses the self-sacrifice resonance of the Japanese Red Army. In his house, he recalls a memory of a suicidal family member. The artist cooperated with a 3D scanning team—their job is to provide forensic scanning service at crime scenes—to make a digital double of Yang Ru-Men. Hsu made a digital scan of the architectural structure of Yang Ru-Men’s house. With these digital models, the artist reconstructs the bomb maker’s personal memories virtually.

　

Gray Room

白屋｜Gray Room

Co-production by Han Nefkens Foundation & Kaohsiung Film Archive VR FILM LAB
VR360 Installation
16'06''

2022

This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin.

Inspired by the artist's ailment and medical examination, he contemplates the construction of intimate memories, from bodily and spatial perceptions to neuroscientific imagination in this VR project.

It begins with a memory from Hsu Che-Yu's childhood: waking up in the middle of his sleep and finding himself sitting outside the house. It felt like everything became displaced. Recent two years, Hsu has been bothered by unusual headaches. After medical examinations, he was diagnosed with Diplopia, the so-called double vision, which was induced by the nervous system. In modern medical research, almost all perceptions and emotions can be measured in Neuroscience; they are material components of the neuro system. Without any metaphysical understanding of emotion and spirit, the concept of the soul is thus challenged.

The Making of Crime Scenes

事件現場製造｜The Making of Crime Scenes

Produced by Le Fresnoy - Studio national des arts contemporains

Video

21'56''

2021

This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin.

Starting from a gunman involved in a murder case, The Making of Crime Scenes seeks to reflect the collective unconscious within society and politics through the gunman's multiple peculiar roles—a filmmaker, a killer, a gangster, and a patriot.

In 1984, when Taiwan was still under Martial Law, a Taiwanese American writer Henry Liu was shot to death in his own house in the US by a Taiwanese assassin. Afterward, due to the intervention and investigation of the US government authorities, this case was eventually confirmed to be a political murder jointly committed by the Military Intelligence Bureau and the biggest mafia United Bamboo Gang in Taiwan, as the government paid the mafia to kill Liu. In the end, the Taiwanese government negotiated with Liu’s family, who signed a non-disclosure agreement, part of which prohibited the revelation of the case in the form of cinema.

The protagonist of this work, Wu, is the assassin who fired the shot at the time. After the case was exposed, the Taiwanese authorities were pressured by the US, and Wu was thus sentenced to life imprisonment. However, he was given amnesty and discharged from prison after six years. After he got out of prison, Wu remained an important member of the United Bamboo Gang, and he established a film company as a producer with the support of his mafia influence, making several “wuxia films” – refers to specific traditional Chinese swordplay films. In the genre of “wuxia film,” the story of the conflicts between a government and local gangsters has often been the main theme, along with a strongly nationalistic ideology. In this work, artist Hsu Che-Yu revisited the film studio that was once used by Wu and is now deserted to recompose the fragments of the political assassination and the scenes of wuxia films, and he cooperated with a 3D scanning team—their job is to provide forensic scanning service at crime scenes—to make a digital double of Wu Dun.

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Rabbit 314

編號314｜Rabbit 314

Video Installation
7'17''
2020

This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin. The death of a laboratory rabbit initial this project. A glove puppetry performer with the laboratory rabbit's dead body in hand reenacts the movements- imagined by humans- of rabbits.

（中文介紹點選此處）

The Unusual Death of a Mallard

一隻綠頭鴨的不尋常死亡｜The Unusual Death of a Mallard
Video Installation
16'45''
2020

This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin.

The inspiration comes from Hsu Che-Yu's family memory. Hsu's grandma served in an animal laboratory for 30 years. Due to the particularity of her job, grandma had to dissect living animals for observation and experiments. Sometimes, she would take the laboratory animals home, which later became his father's childhood playmates. Hsu Che-Yu attempt to probe how the body/life is taken as a part of the body of knowledge relying on real bodies and models, thus further exploring the relationship between death and digital stimulation technology.

（中文介紹點選此處）

Salute

敬禮｜Salute
Silk screen printing
2020

The HISK commissioned the artists to produce a silk screen edition of 30.

Single Copy

副本人｜Single Copy
Video Installation, Glass fiber
21'17''
2019

This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin.

Hsu Che-Yu produce a digital-scan model and fiberglass cast of the body of the first Taiwanese conjoined twins. Through this process, Hsu attempts to explore the workings of biopolitics and the functioning of one’s memory.

The first conjoined twins underwent separation surgery in 1979 and the whole procedure was broadcast on TV. During that period, Taiwan was under martial law. In this way, this surgery was often interpreted as a metaphor for the relationship between Taiwan and China.

Back in 1979, in order to prepare for the separation surgery, the hospital invited an artist to make a cast of the conjoined twins. The attempt to make a cast was however unsuccessful, since it was difficult to control the babies during the moulding process.

In this project Single Copy, Hsu Che-Yu has re-casted the body of the now 43-year old Chang Chung-I, and also use 3D scanning technology to archive his body. The data from the archive are then used as sources for capturing memories from Chang’s earlier life. When Chang was 21 years old, he played a role in the movie, Falling Up Waking Down, portraying a teashop owner whose shop was inside a converted old bus. About two decades later, Chang has repeatedly thought about what it would be like to run that old bus-converted teashop. In real life, Chang is married with two kids, and this artwork overlaps his present life with the fictional setting.

（中文介紹點選此處）

For the conjoined twin separation surgery performed in 1979, the hospital invited an artist to cast a mold of the infant’s body as an exercise before the surgery started; eventually, the mold was not completed. Now that technology is more advanced, the hospital chooses to use 3D digital scan as a replacement of the older mold-casting technique when it performs conjoined twin separation surgery.

In this work, Hsu Che-Yu uses both the old and new techniques at the same time to reproduce Chang Chung-I’s body. On one hand, this is a tribute to the history of medical technology and film history; on the other hand, through actual transfer rubbing and virtual reproduction, this is a contemplation over the third “shared leg” lost due to the surgery: there was no fingerprint on the leg, and the two conjoined brothers could feel and control it together, but it could not be given to either person after they were separated. The existence or abandonment of the leg became a dialectical choice between “one or two.”

Lacuna

穿顱透寫｜Lacuna
Video
40'31''
2018
　
This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin.
　

Controversial news is visualised in detail through 3D animation, it’s all from a popular news company in Taiwan. Hsu Che-Yu cooperates with the News animator and police officer to make Lacuna. 

 

This video is about his brother’s family memories in the form of animation and extends from these memories to two criminal cases that took place in the surrounding area: one teenager was murdered, which happened at an internet café where his brother used to go in his adolescent years, and this event was made into an animation on the news. Another event also happened in Hsu's hometown; someone witnessed a dog wandering on the street, with a female’s head too rotten to be identified in its mouth. Police imagined and portrayed the female’s face before her death according to the shape of the skull.

 

The two events were separately made into portraits on public media—a manga illustration made with 3D software by news media, and the portrait of the victim drawn with pencil by the police. The artist visited the police who produced the head profile of the female, as well as the storyboard artist who made the news animation. By exploring their graphic techniques, Hsu Che-Yu attempted to construct images of his brother’s memories. 

　
（中文介紹點選此處）

My Family Portrait

家庭物件｜My Family Portrait
Photography, Ready-made
2018~2019