Book (Dictionary of Psychoanalysis) series I  /  一本精神分析辞典 系列之一

 

The photos of our bodies try to confuse the boundaries of femininity and masculinity: some of the photos are hard to tell from whose body, while others have poses in gender-nonconforming ways - an intention to blur the lines of any gender. The close ups of body parts are catering all the gazes from all genders, which is related to Mulvey’s idea of voyeurism and scopophilia. However, at the same time, these close ups are also dodging any gaze by concealing the sexes and genders of the subjects and revealing confusing parts of bodies, which can be regarded as blocking voyeurism or scopophilia. 

Meanwhile, our bodies create obstructions over Freud’s words, which makes the audience hard to read the text. The photos cancel the text’s authority and meanings, as well as confront and force the viewers to look at them. On the other hand, some of the photos were intentionally cut out or put into certain positions, to reveal some of the text, which makes us (the artists/subjects) to become the dominator of our own work. Moreover, the artists’ Chinese/Asian identity is used to pose questions on the Western academia’s biases and exclusions (in this case, psychology) towards minorities in the U.S. and cultures from other parts of the world.

这个项目挪用了汇集弗洛伊德作品中所有精神分析词汇的《精神分析辞典》一书,将其中所有性别歧视的、恐同的(及歧视同性恋的)、男权至上的词汇用白色标签标记出来,并通过扫描将这本代表“过时的”“权威性的”辞典转化成可以随意破坏和篡改的数码影像,再用较女性化的男性身体和较男性化的女性身体通过数码合成(而非拼贴)“永久的”、“彻底的”破坏了文本,旨在表明西方以白人男性为默认样本的心理构型对女性、非白种人、同性恋种群的偏颇。

同时,作品也暗示了这本辞典背后的多股力量的对峙:书本作为“物”或者“现成品”文化与肉体形成的对峙;在西方已经过时的“学术垃圾”与其在中国仍然作为“时髦”而被广泛使用的对峙;大众媒体中的男性凝视和对女性身份的重新定义的对峙;邀请观众观看与观看失效的对峙等等。