Behind the Counter
2025
Taipei Biennial 2025: sculpture approx. 128 × 128 × 58.5 cm
Hysteresis 2026: installation approx. 230 × 215 × 170 cm; configuration variable
Monitor dimensions: 35.5 × 23 cm
Video duration: 2 min 17 sec
Four pairs of worn polyester and cotton socks purchased from four female hotel employees through an intermediary selling worn garments, photographs and videos on a Taiwanese foot fetish marketplace on Twitter; wood, plastic and other mixed media. For the NCCU presentation, polished queue stanchions and retractable belts were incorporated into the installation.
A video monitor displays footage of the four women putting on and removing socks together in the hotel’s luggage room.
Originally commissioned by Taipei Biennial 2025.
Exhibition: Hysteresis, NCCU Arts & Culture Center, Taipei, 2026.
Behind the Counter began with an intermediary who sold worn garments, photographs and videos on behalf of several women, offering a separate menu of items and prices for each. Through the correspondence, it gradually emerged that four of the women worked at the same hotel. Their uniforms and details in the conversation suggested that they worked at the front desk.
When asked whether they could make a video together, the women agreed and waited until all four were on the same shift. The intermediary discussed the arrangements with them, and they settled on the luggage room as a suitable, safe place to record. The video grew out of these practical decisions about when they could gather and where they could film within their workplace.
The sculpture consists of four diorama platforms, one for each woman, with hardened sock forms set among miniature reception counters. The four sections fit together as a whole but can also be separated. This arrangement follows the circumstances of the purchase: four individual sellers whose participation was negotiated together.
For Hysteresis, queue stanchions support the platforms and extend the hotel setting into the exhibition space. Commonly found in hotel lobbies, the posts and retractable belts also suit the sculpture’s modular construction, allowing its four sections to stand apart while remaining connected. The counters, barriers and worn socks bring the imagined reception area together with the intimate exchange that took place behind it.
2025
Taipei Biennial 2025: sculpture approx. 128 × 128 × 58.5 cm
Hysteresis 2026: installation approx. 230 × 215 × 170 cm; configuration variable
Monitor dimensions: 35.5 × 23 cm
Video duration: 2 min 17 sec
Four pairs of worn polyester and cotton socks purchased from four female hotel employees through an intermediary selling worn garments, photographs and videos on a Taiwanese foot fetish marketplace on Twitter; wood, plastic and other mixed media. For the NCCU presentation, polished queue stanchions and retractable belts were incorporated into the installation.
A video monitor displays footage of the four women putting on and removing socks together in the hotel’s luggage room.
Originally commissioned by Taipei Biennial 2025.
Exhibition: Hysteresis, NCCU Arts & Culture Center, Taipei, 2026.
Behind the Counter began with an intermediary who sold worn garments, photographs and videos on behalf of several women, offering a separate menu of items and prices for each. Through the correspondence, it gradually emerged that four of the women worked at the same hotel. Their uniforms and details in the conversation suggested that they worked at the front desk.
When asked whether they could make a video together, the women agreed and waited until all four were on the same shift. The intermediary discussed the arrangements with them, and they settled on the luggage room as a suitable, safe place to record. The video grew out of these practical decisions about when they could gather and where they could film within their workplace.
The sculpture consists of four diorama platforms, one for each woman, with hardened sock forms set among miniature reception counters. The four sections fit together as a whole but can also be separated. This arrangement follows the circumstances of the purchase: four individual sellers whose participation was negotiated together.
For Hysteresis, queue stanchions support the platforms and extend the hotel setting into the exhibition space. Commonly found in hotel lobbies, the posts and retractable belts also suit the sculpture’s modular construction, allowing its four sections to stand apart while remaining connected. The counters, barriers and worn socks bring the imagined reception area together with the intimate exchange that took place behind it.
檯後
2025
2025 台北雙年展：雕塑尺寸約 128 × 128 × 58.5 公分
《遲滯》2026：裝置尺寸約 230 × 215 × 170 公分；依現場配置調整
螢幕尺寸：35.5 × 23 公分
影片長度：2 分 17 秒
透過台灣 Twitter 戀足交易市場上一位代售穿用衣物、照片及影片的中間人，向四位女性飯店員工購得四雙穿過的聚酯纖維與棉襪；木材、塑膠及其他複合媒材。於政大展出時，裝置另加入亮面排隊欄柱及伸縮攔帶。
螢幕播放四位女性在飯店行李房內一同穿上與脫下襪子的影像。
原為 2025 台北雙年展委託創作。
展覽：《遲滯》，國立政治大學藝文中心，台北，2026。
《檯後》始於一位替多位女性代售穿用衣物、照片與影片的中間人，每位女性各有一份列明品項與價格的目錄。隨著往來深入，才逐漸得知其中四位在同一間飯店工作。從制服與對話中的細節推測，她們應是在櫃檯任職。
當被問及能否一起拍攝影片時，四人答應參與，並等到彼此排在同一班。中間人與她們商量後，選定行李房作為合適且安全的拍攝地點。影片的形成，取決於她們何時能聚在一起，以及工作場所裡何處適合拍攝等具體安排。
雕塑由四座微縮場景平台構成，每座對應一位女性，硬化的襪形置於迷你接待櫃檯之間。四個部分既能拼合為一體，也可各自分開，延續了這次購買的情況：四位個別的賣家，經由共同協商參與同一件事。
於《遲滯》中，排隊欄柱支撐各座平台，將飯店的場景延展至展覽空間。飯店大廳常見的欄柱與伸縮攔帶，也契合雕塑可分可合的結構，讓四個部分彼此拉開，卻仍保持連結。櫃檯、欄柱與穿過的襪子，使想像中的接待空間與其背後的私密交易交會。
2025
2025 台北雙年展：雕塑尺寸約 128 × 128 × 58.5 公分
《遲滯》2026：裝置尺寸約 230 × 215 × 170 公分；依現場配置調整
螢幕尺寸：35.5 × 23 公分
影片長度：2 分 17 秒
透過台灣 Twitter 戀足交易市場上一位代售穿用衣物、照片及影片的中間人，向四位女性飯店員工購得四雙穿過的聚酯纖維與棉襪；木材、塑膠及其他複合媒材。於政大展出時，裝置另加入亮面排隊欄柱及伸縮攔帶。
螢幕播放四位女性在飯店行李房內一同穿上與脫下襪子的影像。
原為 2025 台北雙年展委託創作。
展覽：《遲滯》，國立政治大學藝文中心，台北，2026。
《檯後》始於一位替多位女性代售穿用衣物、照片與影片的中間人，每位女性各有一份列明品項與價格的目錄。隨著往來深入，才逐漸得知其中四位在同一間飯店工作。從制服與對話中的細節推測，她們應是在櫃檯任職。
當被問及能否一起拍攝影片時，四人答應參與，並等到彼此排在同一班。中間人與她們商量後，選定行李房作為合適且安全的拍攝地點。影片的形成，取決於她們何時能聚在一起，以及工作場所裡何處適合拍攝等具體安排。
雕塑由四座微縮場景平台構成，每座對應一位女性，硬化的襪形置於迷你接待櫃檯之間。四個部分既能拼合為一體，也可各自分開，延續了這次購買的情況：四位個別的賣家，經由共同協商參與同一件事。
於《遲滯》中，排隊欄柱支撐各座平台，將飯店的場景延展至展覽空間。飯店大廳常見的欄柱與伸縮攔帶，也契合雕塑可分可合的結構，讓四個部分彼此拉開，卻仍保持連結。櫃檯、欄柱與穿過的襪子，使想像中的接待空間與其背後的私密交易交會。
