Su Hui-yuStill: The Women’s Revenge
(selection) The Fable Shoots (2007, video), Bloody Beauty (2009, video), She Ate the Face (2010, video), A Horror Day (2010, video), Stilnox Home Video: The Midnight Hours (2010, video), Stilnox Strolling (2011, video), Happy Birthday (2011, instal), The Upcoming Show (2012, instal), Stilnox Home Video (2010), Men Carrying Shame (2015, instal), Nue Quan (2015, instal), the Color, the Tele, the Vision (2015, instal), Shameful Strangers (2015, instal), Thou Shalt Not Self-pollute (2015, instal), A Man After Midnight (2015, instal), Super Taboo (2015, instal), L’être et le néant (1962, Chang Chao-Tang) (2016, video), Chao Chi Jin Ji/Super Taboo (2017, short), The Glamorous Boys of Tang (2018, short), The White Waters (2019, instal), The Women’s Revenge (2020, short), Revenge Scenes (2021, performance)
More info: Su Hui-yu
Su Hui-yu at IFFR
A Man After Midnight
Referencing a popular ABBA song, Su Hui-yu’s video conducts a séance of a late-night Taiwanese television variety show where host Frankie Kao presented song and dance numbers.
Man Carrying Shame
Shrouded in darkness, the private imagination of a man addicted to pornography is made public in Su Hui-yu’s eerie video.
Based on a real-life incident, this ethereal video is a quiet requiem for a man who suffocated to death from erotic asphyxiation with his one-night stand.
Stilnox Home Video: The Midnight Hours
Trapped between waking life and the subconscious, Su Hui-yu finds television characters come to life in his smoke-filled apartment room after he takes a sleeping pill.
Based on a pornographic book from the 1980s, Taiwanese artist Su Hui-yu’s immersive two-channel video brings frozen tableaux of a forest orgy to life.
Thou Shalt Not Self-pollute (Dr. Kinsey)
Traditional society tends to look down on masturbation. In atmospheric slow motion, a doctor tells his patients of the 'self-polluting' consequences of exploring one's sexual desires.
The Upcoming Show
Colour bars on television screens used to signal the end of the day. For Su Hui-yu as a child, this was when his imagination was triggered.
Pop culture and high art merge into a physical, visual interpretation of the Walker Theatre in Taipei, which – in the 1990s – was home to the Taiwanese experimental art scene.
The Glamorous Boys of Tang
In his characteristic style of slow-motion camp, Su Hui-yu invokes lost scenes from a glitter-scattered, blood-splattered orgy from a 1985 cult film.
The Women’s Revenge
In a dynamic re-enactment of 1980s Taiwanese sexploitation films, five women go on a vengeful rampage in the fog-filled night.