2025
《Non-original idea 非原創點子》Wang Yu Ping solo exhibition 王又平個展
2025.09.26-10.13
叢口KewCo Space
《北極熊 Polar bear》
布、鼓風機、arduino控制器 Fabric, blower, arduino／ 300 x 132 x 160cm
大約在10年前的Facebook上看到一則短片，一個美國藝術家Joshua Allen Harris 在2008用白色垃圾袋做成裝置作品Air Bear。一個白垃圾袋北極熊在水溝蓋上被氣流吹得站不穩。
當時並不知道作者是誰，作品叫什麼名字。但是這隻跌跌蹌蹌的北極熊就像迷因印刻在我心中。 它同時呈現了北極熊存在的狀態以及作為「雕塑」的脆弱。這就是為什麼我這麼喜歡，並且做這件作品。
Around 10 years ago, I saw a short video on Facebook featuring an American artist, Joshua Allen Harris, and his 2008 installation work Air Bear, made from white plastic bags. A polar bear made of white trash bags was wobbling unsteadily over a subway grate, animated by the airflow. At the time,
I didn’t know who the artist was or what the piece was called. But this staggering polar bear became imprinted in my mind like a meme. It simultaneously captured both the existential state of the polar bear and the fragility of sculpture itself. That’s why I loved it so much and why I created this piece.
《敏感內容 Sensitive Content》
鋁擠窗框、數位輸出 Aluminum extrusion window frame, digital print／200 x 90cm
此人是以色列總理納譚雅胡
This is Israeli Prime Minister Benjamin Netanyahu.
《D.Trump》
Dyson吸塵器、假髮、數位輸出 Dyson, wig, digital print／120 x 15 x24cm
D(yson)(onald) Trump
《非對稱複製 Asymmetric copy》
銀鹽彩色相片、 無酸鋁裱 C-print, Acid-free mounting on aluminum ／120 x 79.5cm
這是一張荷蘭的街景照片，透過「對焦」與「失焦」的視覺並置。來表現非對稱概念。
This is a street scene photo from the Netherlands, using a visual juxtaposition of ‘focus’ and ‘blur’ to express the concept of asymmetry.
《壞東西 Nasty Stuff》
數位輸出、夾鏈袋 Digital print, ziplock bag／300個，3.5×2.5cm
生活因為一些糟糕的小廢物才開心。
Life is fun because of all the silly, trashy little things.
《何謂天擇 What is natural selection》
鐵、噴漆、麥克筆 Iron, spray paint, marker pen／90 x 86 x 47.5cm
「Who trusted God was love indeed
他深信上帝就是愛，
And love Creation’s final law—
愛便是創造萬物的終極法則—
Tho’ Nature, red in tooth and claw
即使大自然，血染爪牙，
With ravine, shriek’d against his creed—
深淵中，咆哮著對抗他的信念—」
Canto 56 — 《In Memoriam A.H.H.》
56章－《悼念哈蘭》
Alfred,Lord Tennyson 丁尼生
理查．道金斯在1976年出版的《自私的基因》中，首次提到的「迷因」的概念。其中第一章論述達爾文主義「天擇」的立場時，就引用了丁尼生的這段詩。
「天擇」的立場去思考網路迷因的時候，不禁思考是什麼讓某些迷因如此有生命力，背後的邏輯是什麼？
The concept of the ‘meme’ was first introduced by Richard Dawkins in his 1976 book The Selfish Gene. In the first chapter, while discussing Darwinian natural selection, he quotes this passage from Tennyson’s poetry.
When thinking about internet memes from the perspective of ‘natural selection,’ one can’t help but wonder: what gives certain memes such vitality? What is the logic behind their survival?
2023
《不生苔 Forbidden colors》
劇情片 feature film / 34min 54sec / color / ch, nan / Taiwan
中國夢的年輕人、搖滾樂手及錄音藝術家。三個朋友的重聚，因為對未來的想像跟價值觀的差異，友誼受到了挑戰。我的⾸部劇情短片 《 不⽣苔 Forbidden colors 》在2021疫情時期拍攝 ，關注台灣與國際局勢 、本⼟⽂化 、⾝份認同和年輕世代的焦慮 。
A young man shaped by the “Chinese Dream,” a rock musician, and a sound artist—three friends reunite, but their friendship is tested by diverging values and conflicting visions of the future. My first feature short film, Forbidden Colors, was shot during the pandemic in 2021. The film reflects on Taiwan’s relationship with global politics, local culture, identity, and the anxieties of a younger generation.
編.導.製 王又平
攝影 李佳泓
收音 陳慶銘
場記 曾婉詩
剪輯 王又平
配樂 林奕碩
演員
白瑋
林奕碩
許宥逸
許博彥
黃奕翔
林君騤
黃玉雲
卓資振
吳尚洋
陳慶銘
2022
《日常無常 Der Alltag ist vergänglich》
錄像 video / 16min 09sec / color / Taiwan,Germany
作品探索窗戶為生活中的「一幀(frame)影像」帶來的變動性，捕捉世界在疫情下的細微無常。在疫情下，窗戶成為捕捉日常變化的畫框。
從台灣到德國，我以兩顆鏡頭拍攝窗外景象，呈現不同的日常風景。台灣窗景捕捉午後雷雨，雨霧飄散，視點轉移，夏日蛙鳴，風景漸變。德國窗景以動畫伴隨電子音樂，重新安排以及破壞素材展現日常變動，從舒適到不安的音樂詮釋生活的變化。
This work explores the window as a ‘frame’ in daily life — a lens through which change is perceived — capturing the subtle impermanence of the world during the pandemic. In times of lockdown, the window became a picture frame for observing shifts in the everyday.
From Taiwan to Germany, I used two lenses to film scenes outside my windows, presenting contrasting everyday landscapes. The Taiwanese window captures a summer thunderstorm: drifting rain mist, shifting viewpoints, and the gradual transformation of the scene accompanied by the chorus of frogs. In contrast, the German window scene is presented through animation and electronic music, re-editing and deconstructing footage to reflect the instability of daily life — the soundtrack moving from comfort to unease, echoing the emotional shifts of living through uncertainty.
2018
《柏林童年 Berliner Kindheit 2018》
錄像 video / color, bw / 10min 54sec / ch, de / Germany
我的作品靈感來自班雅明的《柏林童年》，以其在1930年代的童年回憶為基。班雅明透過被壓迫者的視角，以創傷經驗描述歷史、政治和流亡。在影片中，遊子注視著小孩和媽媽在柏林漫遊，尋找童年的 足跡。童年是必然失去的，但透過有意識的回憶，可以展現新的經驗。我的作品中，童年不僅是異鄉的，也是家鄉的，柏林是遊子的童年，也是我的異鄉。鏡頭背後是我的視角，解釋我對城市的理解，彷彿一位旁觀者。
My work is inspired by Walter Benjamin’s Berlin Childhood around 1900, grounded in his recollections of growing up in the 1930s. Through the lens of the oppressed, Benjamin evokes history, politics, and exile as forms of traumatic experience. In the film, a wanderer observes a child and mother as they roam through Berlin, searching for traces of childhood. Childhood is inevitably lost, yet through conscious recollection, new experiences can emerge.
In my work, childhood belongs not only to the foreign land, but also to the homeland. Berlin is both the childhood of the wanderer, and my own foreign land. Behind the camera lies my perspective—an attempt to articulate my understanding of the city, as if from the position of an observer.
編.導.製.攝 王又平
場記 金家羽
收音 蕭碩傑
配樂 James Hsiao
翻譯 Hsiang Ling
2016
《錢江衍派Time Splits in the River》
紀錄片 documentary film / color / 89min /ch, nan, eng / Taiwan
導演：李佳泓、黃奕捷、王又平、廖烜榛
四位年輕人邀請父母一同製作一部關於戒嚴時期的電影，讓父母演出80年代異議份子的角色。故事內容是他們從未經歷過的情節，而在拍攝過程中，父母們逐漸融入自己的回憶。2014年太陽花運動後，發現父母對社會運動抱有疑慮，儘管成長於80年代，卻未參與其中。透過拍攝，我們試圖了解家人的過去，並與他們溝通不同的想法。改編白色恐怖文學家施明正的經歷為劇本，由家人飾演80年代的異議份子。起初，他們嘗試演出想像中的角色，卻在過程中進入自己的故事，成為生命經驗的回顧與反思。最終，這部電影呈現了家人間互動的過程，是一次家庭成員之間共同參與的深刻體驗。
Four young man invited their parents to collaborate on a film about Taiwan’s martial law era, casting them in the roles of 1980s dissidents. The story depicts events they never personally experienced, yet during the filming process, the parents gradually infused the narrative with their own memories. After the 2014 Sunflower Movement, the creators noticed that their parents held reservations toward social movements. Although they came of age in the 1980s, they had remained uninvolved. Through the process of filmmaking, we sought to understand our families’ past and to engage in a dialogue about our differing perspectives.
The script, adapted from the experiences of Shih Ming-cheng, a literary figure of the White Terror period, features family members portraying 1980s dissidents. At first, they tried to perform imagined characters, but over time, they stepped into their own stories, turning the process into an act of reflection on lived experience. Ultimately, the film became a record of familial interaction—a profound, collaborative journey shared among family members.
《中國城大戲院 Chinatown Theater》
紀錄片 documentary film / color / 24min 37sec / ch, nan / Taiwan
導演：李佳泓、黃奕捷、王又平、廖烜榛
2016年2月台南中國城拆除前夕，我與另外三位導演有機會參與一場藝術計畫。我們穿上在這棟荒廢多年的巨大建築裡搜集到的舊衣服。女郎身著滿是塵埃的禮服，半夜三更擦脂抹粉；法師漫步在散場的戲院裡，進行著謎樣的儀式；西裝客打開塵封已久的威士忌，敬曾經繁華的中國城。進行了一場行為表演，等待著最後一批訪客的到來。
In February 2016, on the eve of the demolition of Tainan China Town, an art project was carried out. We put on old clothes collected from this massive building, which had been abandoned for many years. A showgirl, dressed in a dust-covered gown, applied her makeup in the middle of the night; a ritual master wandered through an empty cinema, performing enigmatic rites; a man in a suit opened a long-sealed bottle of whisky, toasting to the once-flourishing China Town. A performance was enacted, as we waited for the arrival of the final group of visitors.
王又平 WANG YU PING 