“Father’s Videotapes” 2024 Tokyo
Opening 6月8日 18:00-21:00
Venue @parceltokyo
東京都中央区日本橋馬喰町 2 丁目 2-14 まるかビル 2F
会期:2024年6月7日(金)~2024年7月7日(日)
Father’s videotapes is still in customs Haneda airport.
#父親的錄影帶仍在羽田機場海關扣押中無法入境
今日は6月2日です。東京にやってきて、「父のビデオテープ」の初の展示会を準備しています。父のHi8ビデオテープには、娯楽や生活の様子が記録されており、展示用に持ち込んでいます。合計42巻あります。
しかし、東京の羽田空港の税関を通過する際、ビデオテープに記された父の手書きのテキストがエロティックなものだと考えられ、税関の職員によってポルノグラフィックな商品として没収されました。また、父の80年代の同性愛者向けの出版物もポルノグラフィックと見なされました。その結果、父のビデオテープは税関に没収され、展示物を持ち出すことができませんでした。
税関の職員はこれらのビデオテープを廃棄することさえ提案しましたが、私はこれが芸術作品であり、父と私の重要な思い出であると訴えました。最終的に税関は物品を没収することに同意しましたが、展示会で展示することはできませんでした。
今展示会で展示されているビデオテープは、税関の問題を受けて再制作されたものです。
「父のビデオテープ」は、初めて展示されたのは台湾で同性婚が合法化された2019年のことでした。そして今、2024年になって初めてアジアの他の国で展示される予定でしたが、入国審査で阻まれ、アジア各国の平等に対する抑圧と同様の経験をしました。
Today is June 2nd. I came to Tokyo to prepare for the first exhibition of ”Father’s Videotapes“ in Tokyo. I brought a total of 42 volumes of my father‘s videotapes recorded on Hi8 tapes for the exhibition.
However, when I passed through Tokyo Haneda Airport customs, the customs officials deemed the handwritten texts on the videotapes, which marked various entertainment and life records of my father, as explicit content. They also considered my father’s 1980s gay publications as explicit materials. As a result, they confiscated my father‘s videotapes at customs, effectively preventing me from taking the exhibition materials out of the country.
The customs officials even suggested disposing of these videotapes. I pleaded with them, explaining that these are artistic works and important mementos of my father and me. Eventually, the customs agreed to detain the items, but this meant that the videotapes and publications would not be allowed to enter the exhibition venue.
The videotapes currently being exhibited at the venue are reproductions I made in response to this customs incident.
”Father’s Videotapes“ was first exhibited in the year when marriage equality was passed in Taiwan, 2019. Now, in 2024, it is the first time ”Father‘s Videotapes“ is being exhibited in other Asian countries, yet it encountered obstacles at the entry checkpoint, resembling the suppression of equality in other Asian countries.
Cover story with 楊謹華 @cheryllovel0ve in Keelung
單純的人
基隆#人魚壽司店 策展籌備期間，在仁愛市場東奔西走，與當地街坊相親交談，由於空間的基底原本就是一間搬遷後的卡拉OK，內裝留著斑駁的壁紙與海港潮濕的水漬，自帶氣場並燈火闌珊鳳凰餘煙。勾起以前電影美術做舊場景的創作慾。
基隆，單純的人，善良 、平凡 、快樂。
作品啟發源自臺灣90年代初台中梅龍鎮大酒店，行走江湖為愛走天涯的媽媽桑荔香姐。
Pure person
I still remember rushing back and forth through the second floor of Keelung’s Ren’ai Market during the curation process, chatting and bonding with the local neighbors. Before the opening of **#futuresashimi **, the space itself—originally a vacated karaoke parlor—carried its own distinct aura. The interior was draped in peeling wallpaper and damp stains from the harbor’s humidity, flickering with the fading embers of a bygone era. It stirred a creative desire within me, reminiscent of my days as a film production designer creating “aged” sets.
In 2022, the “feng shui fish tanks” of Home Pleasure * reappeared within this sensual domain. My work has traveled from a simulated gay sauna built in an art museum in 2022, to the 2023 piece *Plastic Ceremony * in my hometown of Dongshi—using a Japanese-era classroom dormitory to decipher the Hakka secret code of “A-bi-bai”—and finally to 2025, where the hyper-realistic **future Sashimi * opened inside a Keelung karaoke bar. It was a night of “Rising Desires,” featuring a one-night-only performance by **Betty Apple** at the Crystal club QooPa as the Mermaid Goddess on procession.
The inspiration for this work stems from mom Lixiang, a ”Mama-san“ from the early 90s at the Meilong Town pub in Taichung—a woman who navigated the world and risked everything for love.
Talent／楊謹華 @cheryllovel0ve
Editor-in-Chief／Sara Lee @slandhercolletions
Fashion&Creative Director／Kris Lin @beloveapril
Senior Features ／EditorPatreeck Liao @patreeck_xxoo
Interview&Text／Eika Huang @eikahuang
Photographer／Manbo Key @manbo_key
Producer／Nelly Yang @nelly_yang_
Make Up／Lee hsiao wen @wenlee___
Hair／Isiah @isiahzin
Executive Producer／Bo Jyun Chen @hakukin
Video Editor／Milky Lin @milky_of_poppy
Lighting ／Ping-Hsiao @phtsai_tw
Set Design ／火山 @_fire.3
Set Design Assistant／Xuan @h224513445
Wardrobe／Prada @prada
#marieclairetw #Prada
Special thanks @leica_camera_taiwan
🐟🌸🌊🏮
基隆是個啟發我的城市。
從90年代侯孝賢導演的台灣電影的《悲情城市》、《好男好女》，到如今仍受注目並留存著亞洲rave文化的作品《千禧曼波》，因此去年於基隆策展，在仁愛市場集結HomoPleasure 開了一家「人魚壽司店」，當時頻繁往返於漁市場、舞廳與繁忙的街道，基隆仍保留著能連結電影給予我當時感受的氛圍，想透過這次與楊謹華的創作，穿梭式地紀念這個迷幻之都，當時拍攝工作期間，社群手機跳出來：侯孝賢73歲生日快樂，發麻的腦袋與手中握著的，是記憶也是一刻的閃爍。
Keelung is a city that has deeply inspired me.
From Hou Hsiao-hsien’s 1990s Taiwanese films A City of Sadness and Good Men, Good Women, to the still-celebrated work Millennium Mambo, which preserves traces of Asian rave culture, these works have left a lasting impression on me.
Last year, I curated a project in Keelung, where HomoPleasure gathered at Ren’ai Market to open a “Future Sashimi” During that time, I frequently moved between the fish market, dance clubs, and the bustling streets. Keelung still retains an atmosphere that connects me to the feelings those films once gave me.
Through this collaboration with Cheryl Yang, I hope to create a drifting, interwoven tribute to this psychedelic city. During the shoot, a notification suddenly popped up on my phone: “Happy 73rd Birthday to Hou Hsiao-hsien.” In that moment—my mind tingling, something held in my hand—it was both memory and a flicker of the present.
Talent／楊謹華 @cheryllovel0ve
Editor-in-Chief／Sara Lee @slandhercolletions
Fashion&Creative Director／Kris Lin @beloveapril
Senior Features ／EditorPatreeck Liao @patreeck_xxoo
Interview&Text／Eika Huang @eikahuang
Photographer／Manbo Key @manbo_key
Producer／Nelly Yang @nelly_yang_
Make Up／Lee hsiao wen @wenlee___
Hair／Isiah @isiahzin
Executive Producer／Bo Jyun Chen @hakukin
Video Editor／Milky Lin @milky_of_poppy
Lighting ／Ping-Hsiao @phtsai_tw
Set Design ／火山 @_fire.3
Set Design Assistant／Xuan @h224513445
Wardrobe／Prada @prada
#marieclairetw #Prada
𝗛𝗼𝗺𝗼𝗣𝗹𝗲𝗮𝘀𝘂𝗿𝗲 𝗖𝗼𝗹𝗹𝗲𝗰𝘁𝗶𝘃𝗲 𝗣𝗿𝗲𝘀𝗲𝗻𝘁𝘀
𝑩𝒆𝒕𝒕𝒚 𝑨𝒑𝒑𝒍𝒆: @lovebettyapple
𝑪𝒍𝒖𝒃 𝑷𝒆𝒓𝒇𝒐𝒓𝒎𝒂𝒏𝒄𝒆 ‘𝑴𝒐𝒕𝒉𝒆𝒓’
@kaynkenchen@choudedemain@betty_apple_art
▐ 在無油的後烏托邦末日，當肌肉崇拜的座駕因乾涸而沉寂，Betty Apple 親自演繹 Mother——這位「羞到怨」祭壇的母系大家長，將在現場集結信念。Kaynkenchen 的怪力裝置「拼裝車 2.0」，將驅動引擎，與她共同祭出一場邪典集會。
眾人於夜半抹油敬拜、聽 Mother 講道，以慾望之軀遙祭古代大地，祈求在乾涸的荒原中，重新流出滋養萬物的化石聖油。
In a dystopian, oil-less wasteland, where the chariots of muscle-worship lie silenced by drought, Betty Apple personally embodies “Mother”—the matriarch of the ASYLUM altar, gathering the faithful on-site. Kaynkenchen’s monstrous installation, “Franken-car 2.0,” will ignite its engine, joining her to manifest a full-scale cult assembly.
At the stroke of midnight, the congregation anoints themselves with oil in worship, listening to Mother’s sermon. With bodies of desire, they offer remote sacrifices to the ancient earth, praying that in the scorched plains, the sacred fossil oil may flow once more to nourish all existence.
┏━━━━━━━━━━━━━┓
┃酷趴踢：羞－到－怨
┃𝗤𝗼𝗼 𝗣𝗮: 𝗔𝗦𝗬𝗟𝗨𝗠
┃𝟮𝟬𝟮𝟲.𝟰.𝟭𝟴 (𝗦𝗮𝘁.)
┃𝗟𝗼𝗰𝗮𝘁𝗶𝗼𝗻 ▶ 𝗙𝗶𝗻𝗮𝗹 𝗧𝗮𝗶𝗽𝗲𝗶 @final_taipei
┃𝗧𝗶𝗺𝗲 ▶ 𝟮𝟯:𝟬𝟬 - 𝟬𝟰:𝟯𝟬
┗━━━━━━━━━━━━━┛
✦ 𝗟𝗶𝗻𝗲 𝗨𝗽 ✦
┃𝑩𝒆𝒕𝒕𝒚 𝑨𝒑𝒑𝒍𝒆: 𝑪𝒍𝒖𝒃 𝑷𝒆𝒓𝒇𝒐𝒓𝒎𝒂𝒏𝒄𝒆 ‘𝑴𝒐𝒕𝒉𝒆𝒓’
┃𝑺𝒖𝒔𝒉𝒊𝒇𝒍𝒐𝒘
┃𝒀𝒖𝒏𝒖𝒔
┃𝑵𝑬𝑫𝑼
┃𝑲𝒆𝒎𝒊𝒄𝒂𝒍 𝑺𝒊𝒔𝒕𝒂𝑺
@lovebettyapple@sushiflow_official@hugoyunus@briiiiiiight@yangtengchi@cwl_lingia
┏━━━━━━━━━━━━━━━━━━━┓
┃禁錮的靈魂潛心修行，期盼有一天真能皈依
┃不分日夜的祈禱，體內的不安份終能得到救贖
┃
┃客觀描述——
┃跪地閉眼，手握念珠，雙手合十默唸禱詞
┃
┃主觀形容——
┃搔癢、刺痛、古怪的暖流持續於底部騷動
┃
┃這是道院還是迷魂院
┃本想修願，但羞到怨
⋯⋯雖然還繼續相信／聽起來連自己都覺得太煽情
雖然還依舊愛祢／看起來又嫌多餘
⋯⋯祢離去的那天／忽然傾盆大雨
忘記關的窗／濕了一地
┗━━━━━━━━━━━━━━━━━━━┛
✦ 𝗔𝗿𝘁 𝗪𝗼𝗿𝗸𝘀 ✦ @kaynkenchen@choudedemain@yaodejn@lovebettyapple@manbo_key@cwl_photo@yuzora
We love looking through Manbo Key’s roll. For the second year, he showed us Draaimolen through his eyes.
Colours flow into each other, shapes breathe through the screen, and the moments hang between stillness and movement. Everything feels warm, soft, but somehow also sharp and alive.
Thank you, Manbo & team ❤️
@manbo_key@cwl_photo@mw_studio_tw
珊妮公主 @sandeechan
The Value of Adventure Lies Not in Perfection, but in Imbalance
“You remember a face that leaves a deep impression because it has angles and edges.” Music is the same—what truly draws us in has never been a beauty built on perfect balance.
The Value of Creation Is Becoming Rare
Facing the rapid turnover of generations, Sandee Chan jokes that she has “lived longer and seen more.” She feels neither panic nor naive optimism, but simply regards it as an “irreversible evolution.”
“AI will indeed eventually replace a great deal of human labor, but we shouldn’t think of it as something new ‘overthrowing’ what came before. This is an inevitable evolutionary process—there’s nothing that needs to be overthrown. Of course I wonder what the future will become, but I don’t expect anything in particular, nor do I set assumptions. And I certainly won’t force myself to do things I’m not good at or don’t want to do.”
What concerns Chan more is this: when AI can generate “compromised yet practical content,” where will the value of human creation lie?
“So make more decisions. Make complex decisions. Learn to take risks. That’s something AI can’t do.”
陳珊妮 :冒險的價值不是完美，而在不平衡
「你會記住一張令你印象深刻的臉，是因為它有稜有角。」而音樂也是，真正吸引人的美感從來都不是平衡構成的。
創作的價值變得稀有
面對世代的急速更迭，陳珊妮笑說自己「活得比較久、看得也很多」，沒有恐慌，但也沒有天真的樂觀，只把它視為「不可逆的演化」。「AI確實終將大幅取代人工，但不要去想那是現在的東西『推翻』過去的東西，這是一個必經的演化過程，沒有什麼需要去推翻。當然我會去想未來到底會變成什麼樣子？但我不會期待也沒有預設，更不會勉強自己去做我不擅長、或是我不想做的事情。」陳珊妮更關心的是，當AI可以生成「折衷且好用的內容」，那人類創作的價值又會在哪裡？「所以多做決定，去做一些很複雜的決定，學會去承擔風險，那是AI做不來的。」
@elletaiwan
PHOTOGRAPH_MANBO KEY @manbo_key
PHOTO ASSISTANT_L-CC, @t_m_l_e DOLLY LIAO STYLING_TITI CHEN @titichen09
SET DESIGN ASSISTANT_曾明修 @choudedemain CHOUCHOU，
DOLLY LIAO @h224513445
PM & TEXT_CHRISTY YANG @yangyinchristy
Special Thanks @leica_camera_taiwan
