Single Copy

副本人 Single Copy
單頻道錄像、玻璃纖維雕塑 Video Installation, Glass fiber

This work is a cooperation with my long-time collaborator, screenwriter Chen Wan-Yin.

I produce a digital-scan model and fiberglass cast of the body of the first Taiwanese conjoined twins. Through this process, I attempt 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, I have 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.





Single Copy_clips from Hsu Che-Yu on Vimeo.

For the conjoined twin separation surgery performed in 1970, 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, I use 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.”




穿顱透寫 Lacuna
單頻道錄像 Video
This work is a cooperation with my long-time collaborator, screenwriter Chen Wan-Yin.
Controversial news is visualized in detail through 3D animation, it’s all from a popular news company in Taiwan. I cooperate with the News animator and police officer.
This video is about my brother’s family memories in the form of animation, and extend 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 my brother often used to go to in his adolescent years, and this event was made into an animation on the news. Another event also happened in my hometown; someone witnessed a dog wandering on the street, with a female’s head too rotten to be identified in its mouth. A 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 portraitures 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. I visited the police who produced the head profile of the female, as well as the storyboard director who made the news animation. By exploring their graphic techniques, I attempt to construct the images of my brother’s memories in my work.


My Family Portrait

家庭物件 My Family Portrait
攝影、現成物 Photography, Ready-made


重新破裂 Re-rupture
動力裝置、錄像、攝影、現成物 Dynamic Installation, Video, Photography, Ready-made

This work is a cooperation with my long-time collaborator, screenwriter Chen Wan-Yin.

While suspended from a crane eight stories up in the air, a man performs a guitar solo. It's a reenactment inspired by the particular relationship between subculture and political movement in 1990s Taiwan.

In 1995, there was a human-shape balloon on the top of Chongxing Bridge in Taipei, and there was also the attempt of suspending all kinds of items in the air, such as washing machine, boiling hot pot, the statue of Chiang Kai-shek, and sex doll, trying to crash them to the ground. But the plan failed eventually; nothing was destroyed. Before everything started, it ended because of the self-explosion of the human-shape balloon. The same year under Chongxing Bridge, there was also a large scale fight. The people present there that day slashing each other with iron rod or sashimi knife. When we found the people invovled, however, they told us it was actually a fight between political factions.
Re-rupture assembles two seemingly unrelated historical fragments: "People's Taxi riot" and "Taipei Breaking Sky." I invited five drivers who participated in the fight at the time to return to the event site, while hanging a guitarist Li Na-shao on the top of Chongxing Bridge to play music.


The year 1995 belongs to an era right after the White Terror ended in Taiwan. In this year, Taipei Breaking Sky Festival was planned by the 26-year-old Wu Zhong-wei. In the many art events that Wu Zhong-wei planned, there was always a strong sense of anarchism. However, his father Wu Er-qu was a political artist serving the government. The many sculptures and paintings in Chiang Kai-shek Memorial Hall were all created by Wu Er-qu. In the complicated relationship between the father and the son, we seem to be able to observe the microcosm of Taiwan’s social and political history.


The sculpture on the right-hand side was molded by Wu Zhong-wei’s father Wu Er-qu. It is said that he only made a couple of these and gifted them to the top officials and elites at the time. I spent 5000 NTD and bought this from an online marketplace. Wu Er-qu also designed a miniature version of the Chiang Kai-shek Memorial Hall with the size ratio of 25:1; in fact, the entire Window on China Theme Park was built by him. Apart from small things, he also painted the biggest portraiture of Generalissimo Chiang in the world at the time, which debuted in the opening ceremony of Chiang Kai-shek Memorial Hall in 1980.

More than two decades ago, his son Wu Zhong-wei had an unrealized plan, which was to hang everything that he thought of—eggs, a running laundry machine, the statues of historical great men, half-finished hot pot—in midair, before throwing them down, piling up a garbage mountain, and crushing them into a huge lump with a machine.

“Because it was never forgotten, so there is no so-called remembering”

After Wu Er-qu passed away, his son piled up his works on the balcony on the top floor of his old house. When he is free, he goes to the top floor to smoke and drink beer, while cigarette butts, beer cans, and the works gradually mix together and form a small hill. The son said he is letting his father’s posthumous works breath, as they shower in the rain and bath under the sun. 

During the process of collecting materials, I saw a small hill of debris composed of the remaining molds of the Window on China Theme Park, which is still left on that balcony to slowly decay: supposedly irrelevant matters that took place in different times are piled together, becoming a miniaturized national ruin as they are exposed to sun and rain.


Wu Er-qu, the creator of Window on China Theme Park took a photo of his works in 1990s.

No News from Home

No News from Home

The protagonists are my brother and his infant boy who was six-month-old. I selected five family videos about the newly-born baby that my family shot and turned them into animation. Through rituals of folklore belief and fragments of Taiwanese social customs, I discussed how my brother negotiate with his family, education system, and the society, going from confrontation to compromise.


A Letter to Su Wanqin

尋找蘇萬欽 A Letter to Su Wanqin
相紙 Photography

This work is a cooperation with my long-time collaborator, screenwriter Chen Wan-Yin. It based on a special tradition in the history of photography in Taiwan. It adopts a particular skill of making self-portraits in the 1960s by collaging a figure’s headshot with a painted body and background. These photos functioned as a memorial portrait of the old or the deceased. Due to the commodification, the same painted background in the pictures often appear in different families. The portrait photo of 103 years old Su Wanqin is the first example I found that its background identical to my grandfather’s photo. In the searching of the information about Su Wanqin, we learned that he once participated in the war in China as a Japanese soldier in the 1940s and now is the oldest Nationalist Party member alive.
After writing a letter telling him about the finding of identical painted background in the portraits, we got a reply from the son of Su Wanqin. The son wrote on his father’s behalf to expose the condition of the old man’s late life. We built a relationship as short-term pen pals.



Photo Album Clips

相簿剪貼 Photo Album Clips
相紙*10  Photography * 10 pieces

When Yuan Zhi-jie was a child, Yuan’s father left him and had a new family . Yuan’s estranged grandfather suicided at last. Yuan got in touch with his sister who is totally unfamiliar to him via Facebook and invited her to copy and upload family photos with which he can piece together the memories. To Yuan, the sister is a virtual “data person” in a system, but the childhood memories is still romantic.



I take photos of Zi-qing’s Facebook profile picture. I am not sure if she looks like that in person. But the photo looks really similar to the girl that Yuan had a crash on in junior-high school.

Yuan Zhi-jie’s young father and his grandfather who killed himself later. After that his grandmother does not contact her son and grandchildren anymore.

Microphone Test

麥克風試音:致信黃國峻 Microphone Test: A Letter to Huang Guo-Jun
單頻道錄像 Video
麥克風試音:告別式 Microphone Test: Funeral Service
Triple-Screen Projection, Interactive Installation, Glass Fiber, Table and Chair, Plant

This work is a cooperation with my long-time collaborator, screenwriter Chen Wan-Yin.

The Microphone Test series is named after writer Huang Guo-Jun’s work Microphone Test. Two months before Huang committed suicide, he wrote an essay in epistolary style titled“To Mother,” in which he expressed his intention to kill himself to his mother. The writing style is filled with black humor and expressive quality, but he killed himself two months after he wrote this letter, and he did not leave any suicide note. 

Microphone Test: A Letter to Huang Guo-Jun is a video letter to Huang Guo-Jun. Through conversations with Huang’s works created before he died, the letter depicts private family memories of three good friends, and attempts to portray what in fact belongs to my, or perhaps everyone’s memories through the memories of these others. Or perhaps, what is important is not whose memory it is, but the process that memory is constructed and viewed. I invited Yuan Zhi-Jie, Chen Liang-Hui, and Lo Tien-Yu to go back to the event site, and reenvisioned their memories in front of the camera. 




Microphone Test: A Letter to Huang Guo-Jun__clip from Hsu Che-Yu on Vimeo.

Microphone Test_exhibition recording from Hsu Che-Yu on Vimeo.

Memorial Portrait of Great Grandfather in the Worship Hall in the House: Chen Wan-Yin, who doesn’t know my three friends (Yuan Zhi-Jie, Chen Liang-Hui, and Lo Tien-Yu), rewrote their memories into a script, and dubbed the video Microphone Test: A Letter to Huang Guo-Jun according to her own perspective. In the process of writing, she recalled the memorial portrait of her great grandfather in the worship hall of her house, and the association has double meanings: first, it is an association with family stories, including family member who she has never seen, and the seemingly distant but close family memories; second, it is an association with production method. The video Microphone Test: A Letter to Huang Guo-Jun makes use of a method that replaces real figures with animation, which is similar to the technique of memorial portrait, with both using fiction in place of reality.

In the memorial portrait, only the head image is shot by camera, which is then cut down and pasted to a background with a single seat armchair and pot plant, while the body and the background are replica paintings outlined in Chinese ink wash. The replica is a ready-made model provided by the store for customers to pick, which is why in other unknown families, there could also be the same memorial portrait, memory, body, and background. 

家中神明廳的曾祖父遺像── 不認識三位友人(袁志傑、陳良慧、羅天妤)的陳琬尹,將他們的記憶重新書寫成劇本,並以自身的視角替〈麥克風試音:致信黃國峻〉影片配上口白。在書寫過程中,她想起掛在家中神明廳的曾祖父遺像,這個聯想是雙重的:首先是對家庭故事的聯想,未曾見過的親人、似遠又近的家庭記憶。其次是製作方式的聯想,〈麥克風試音:致信黃國峻〉影片中將真人覆蓋成動畫的做法,與遺像的技術相仿,皆是以虛構替代真實。

A Telephone that Keeps on Ringing on the Living Room Table: After the audience walk into the exhibition space, they see a set of single person table and chair, and a phone that keeps on ringing is placed upon the table. They will hear a man’s voice mumbling words about “sending someone off” after they pick up the phone. The voice actually comes from Huang Guo-Jun’s novelist friend Yuan Che-Shen, who reads his own essay “Sending Off” on the television program “Swimming in the Sea of Books” hosted by Zhang Da-chun. I recorded parts of the dialogues, taking them out of their context and transplanting them in the telephone transmitter, just like sending off Huang Guo-Jun and witnessing his own death, or also like sending off the family memory in the video.

After Huang left the world for a year, Yuan also committed suicide. The newspaper used “Sending Off” as a pun in the title “Sending Off Turns into Parting Eternally.”

客廳桌上響個不停的電話── 觀眾走入展場後,看見的是一組單人桌椅與盆栽靜物,桌上放著一個響著不停的電話。接起來後會聽見男人的聲音,喃喃說著關於「送行」的字句。這段聲音實際上是來自黃國峻的小說家朋友袁哲生,生前在張大春所主持的電視節目「縱橫書海」中講述著自己的散文作品〈送行〉。我翻錄了其中幾段話,斷章取義、移花接木地放入話筒中,彷彿是對著黃國峻與自己的死亡送行,又或像是對著影片中家庭記憶的送行。


The Voice of Yuan, the Farewell Video of Huang, and the Animation and Statue that Rub the Giant Breasts: Behind the table that has telephone on it and the plant and chair, the back of triple-screen projection is seen by the audience, who have to go around to read the content of the video. Three videos are: Yuan imitating the way his grandfather killed himself under the wall, the funeral service of Huang that can be searched on the Web, and the Animation and Statue that Rub the Giant Breasts, respectively.

袁志傑的聲音、黃國峻的告別式影像、搓揉著巨乳的動畫與雕塑── 在放置電話與盆栽的桌椅後方,所看見的是三個投影屏幕的背面,觀眾必須繞過去,才能閱讀影像內容。三段影片分別是袁志傑在圍牆下模仿爺爺自殺的樣子、網路上所搜尋到的黃國峻告別式畫面、搓揉著巨乳的動畫與翻模雕塑。

Making Molds of (My) Hands and (Her) Breasts

翻模一雙(我的)手與(她的)胸部 Making Molds of (My) Hands and (Her) Breasts
玻璃纖維、平面輸出 Glass Fiber, Graphic Image Output

This work is a cooperation with my long-time collaborator, screenwriter Chen Wan-Yin.

There was once a guy who picked up women on the streets. After showing his admiral on her breasts, he would reveal himself as an artist, take her to a motel and do a body casting towards her breasts. The woman could not move a single step during the process, and therefore was sexually harassed by this “artist”. After he was caught, police found many body castings towards hands and breasts during the investigation.


Delete: The Nameless Men

無姓之人  The Nameless Men
輸出、錄像、雕塑、空間裝置  Installation

Hsu Che-Yu x Yuan Zhi-Jie Strategy Guide

許哲瑜 x 袁志傑 完全攻略本  Hsu Che-Yu x Yuan Zhi-Jie Strategy Guide
漫畫出版品(誠品出版) Comic Publication by the Eslite Corp
頁數82  The total number of pages: 82

Sighing Flowers and Shamisen

歎煙花與三味線 Sighing Flowers and Shamisen
八頻道錄像、空間裝置  8 channel projections, installation

Phrases are picked out From Taiwan Jiu Shi Tan (Taiwan Old Tales) by Lin Dongchen first published in 1979 April 15th and films are shot in the location mentioned in the book. In this book, the author depicts Taiwan during the times of Japanese occupation from second hand information. I have never been through those period, hence for me they only exist/non exist in a elusive and ghostly form, but always on my mind.


November 11th, 1970.

1970年11月11日 November 11th, 1970.
錄像 Video

There was a news about building a statue at Zhongshan Park in 1970. I return to Zhongshan Park, and the fictitious spirit is summoning me.


November 11th, 1970__clips from Hsu Che-Yu on Vimeo.

手勢 Gesture
輸出於棉紙 print onto a cotton canvas

Raising the right hand, and gesturing from right to left like ocean waves signifies group membership and respect.


The Black Dahlia

黑色大理花 The Black Dahlia
輸出於棉紙 Print onto a rice paper
45x45cm * 30

There are 30 drawings in this work, and each one corresponds to a real news event. Most of the events are murder cases. I wrote down the committed date and place nearby the drawings, the imagined drawing based on news content.