LEFTOVER MARKET 剩女經濟
Residency and Research
2024 Festival DDD- Dias Da Dança
CAMPUS Paulo Cunha e Silva
© João Octávio Peixoto DDD
World Premiere
2024 Taipei Arts Festivel
Taipei Performing Arts Center
臺北藝術節/臺北表演藝術中心
© 羅慕昕Lô Bōo-Him
© 唐健哲Chien-Che Tang
Australia Premiere
2024 Liveworks Festival
Performance Space
© Lucy Parakhina
Canada Premiere - 12min version
2025 PuSh International Performing Arts Festival
Fox Cabaret - Opening Party
© Sayna Ghaderi
France Premiere
CN D Camping Lyon 2025
Les SUBS
Canada Premiere
2025 SummerWorks Festival
The Theatre Centre
Switzerland Premiere - 35min version
2025 Zürcher Theater Spektakel
OPEN STUDIO
「經濟」是此作品的另一個策略，提示了我們無法逃避在生產與消費的基本結構中去談論性別政治。看到香蕉，人們通常想到什麼？看見「剩女」，腦中浮現的又是什麼呢？
蘇品文身體所呈現的，正是此種複雜性，引出一個又一個問題，或許互有矛盾，互有岔出，卻又能走出另一條路。最重要的是——撇開層層論述不提——蘇品文的演出總讓人感受到某種細膩關照，關照所處環境，關照自身，也關照與之互動的周圍觀眾。對我而言，這才是真正的純粹。
閱讀社交軟體和欣賞作品，真是完全不同的感受。在《剩女經濟》裡，心情時而被鬆解，時而被緊緊捆綁住。在笑時候，又眼框濕潤。蘇品文總讓人看不透，也毋需去猜透。但他鼓勵了我，試著努力碰觸這些讓人情怯的女性主義討論。
在《剩女經濟》中，蘇品文希望深入探討更廣泛的性別政治、身體政治以及女性主義藝術家的真正意圖。他指出，女性主義藝術家不僅僅是在倡導月經假、工時平等或薪資平等，而是對女性主義的理解需要擴展到更廣泛的領域，包括社會運動和街頭運動之外的討論。
Leftover Market takes its inspiration from a term “Sheng Nu”, meaning “Leftover Women”, used to classify females* over twenty-seven who are still single, a notion that pervades Mandarin-speaking cultures around the world.
Inviting audiences into an immersive and participatory space populated with so-called waste and a figure that refuses to conform, Leftover Market interrogates how we judge things to be favourable or useless, and who gets to decide. Ideas of gender, sexuality, family, materiality, food, sustenance, and the very landscape of our daily lives under late stage capitalism are thrown together and exploded in this provocative and playful work.
Commissioned by Taipei Performing Arts Center, Festival DDD- Dias Da Dança, Centre National de la Danse and Performance Space
由臺北表演藝術中心、葡萄牙波多DDD舞蹈節、法國國家舞蹈中心、澳洲雪梨表演空間共同委託、製作
© 陳奕臻Chen Yi-Chen