拍立得、單頻道錄像、喇叭與腳步聲 (2024)
Polaroid, Single-channel Video, Speakers with Footsteps
與酒與妹仔的日常共同創作/Co-created with Diary of the Hostess
此作品以拍立得定格十多位酒店小姐上班前、後的模樣。遠觀大量的身體影像看似如複製貼上般相似，近觀卻會察覺其差異性。制式的身體姿態與特定部位的擺拍，如同電影開拍前的定裝照，回應這些女性勞動者「扮演」酒店小姐、上班如同一場演出的狀態，陪伴服務與情慾流動在真實與虛構之間交錯，下班如同下戲，又切換回日常生活中的角色。
對比立即顯影的大量拍立得照片，錄像中試圖誤用這個特性，以拍立得定格三年前的紀錄片《海與岸》中這些酒店工作者的身影，並錄影拍立得顯影的動態過程。影像緩慢的顯影、緩慢地消失成為空白，是時態的混淆、記憶的遠去，也是趙若彤身為導演站在不同視角觀看這些影像的思考。當觀眾走上樓梯時，會聽到後方傳來的高跟鞋腳步聲，卻不見人影，接著數十張拍立得照片映入眼簾，隱喻著酒店小姐此職業存在卻又缺席的狀態。
This work uses Polaroid snapshots to capture the appearances of over ten hostesses before and after work. From a distance, the abundance of body images appears almost identical, as if copied and pasted. However, upon closer inspection, their individual differences become evident. The posed, standardized body postures and the framing of specific body parts resemble stills taken before the filming of a movie, reflecting how these female laborers “perform” the role of hostesses. Their work, filled with services and sexual undertones, blurs the lines between reality and fiction. After work, they “exit the stage” and return to their everyday lives.
In contrast to the instant nature of Polaroid photos, the video attempts to subvert this characteristic by documenting Polaroid stills of these bar workers from the 2019 documentary The Hostess, capturing the dynamic process of Polaroids developing. The slowly developing images and their gradual fade into blankness represent the confusion of time, the fading of memory, and the director Zhao Ruotong’s contemplation of these images from different perspectives. As viewers walk up the stairs, they hear the sound of high heels behind them, but see no one. Then, dozens of Polaroid photos come into view, symbolizing the bar hostesses’ paradoxical state of existence—present, yet absent.
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