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
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 Festival
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
© 林穎 Lin Ying
Canada Premiere
2025 SummerWorks Performance Festival
The Theatre Centre
© Jae Yang
Switzerland Premiere - 40min version
2025 Zürcher Theater Spektakel
Hong Kong Premiere
2026 香港西九單人表演藝術節
© Winnie Yeung
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.
Leftover Market: the market for those that have been left behind. With this evocative title, Taiwanese artist Su PinWen connects the notion of waste in our capitalist society with the way female are judged as commodities – according to their age, status or body. In all areas of production, from fashion to food, what is no longer wanted is discarded. In an immersive, uncompromising performance, Su PinWen examines the unspoken aspects of a value system that conceals the commodification of human beings, questioning our judgments and dissecting our behavior. Changing hisappearance, PinWen embodies other selves, manipulates contemporary injunctionsand signs, and puts our gaze and perception to the test through a critical body that reflects the contradictions of a social organization that stifles our lives. A manifesto for the freedom to exist outside the logic of consumerism, Leftover Market joyfully shatters frameworks and identities.
CN D
Leftover Market: the market for those that have been left behind.
This solo dance performance is inspired by the term, “剩女Shèng Nǚ”, meaning “Leftover Women”, used to classify women over twenty-seven who are still single, a notion that pervades Chinese-speaking cultures around the world.
Featuring Taiwanese Mandarin and English pop music, this performance invites 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.
Artist/Producer: Su PinWen 蘇品文
Performance Assistant: Wu YingHsuan 吳盈萱
Lighting/Technical Manager: Jessica Han 韓瑩潔
«Leftover Market» ist inspiriert von dem Begriff «Sheng Nu» – einem Label für unverheiratete Frauen* über 27, das in mandarinsprachigen Kulturen weit verbreitet ist. Zwischen Teddybärkostüm und poppigen Hits zieht die nonbinäre Künstler*in Pin Wen Su Parallelen zwischen den «Resten» unserer von Fast Fashion geprägten Gesellschaft und der Bewertung von Frauen*, die sich dem traditionellen Rollenverständnis entziehen. Dabei verwebt die Künstlerperson persönliche Erfahrungen mit der Kolonialgeschichte Taiwans und der Projektion westlicher Weiblichkeitsklischees auf asiatische Körper – und fragt: Was gilt als wertvoll in einer Gesellschaft, die immer noch über das Leben und den Körper von Frauen* bestimmt?
公仔熊正是那個介於遮蔽與赤裸間的層次，像是蘇品文「裸身的替代品」，「熊的外形很壯碩，但牠們有無比柔軟的內在」，困在壯碩身體中的熊，令他想起被困在傳統性別與身體中的人們。
一場單人show 論性別多元 遮蔽與赤裸間 蘇品文再定義「剩女」
《剩女經濟》帶你拆解「剩」的文化
在香港，女性若到了一定年齡仍然單身、未婚，往往被冠以「籮底橙」、「賣剩蔗」等帶有貶義的稱呼，彷彿是市場上滯銷、需要減價出售的「剩食」。在交友平台上，不論男女都會在自我介紹中列出吸引人的特質與「賣點」，如同一個個等待被挑選的商品。
這是否意味著，在女性身體與兩性關係之中，早已隱藏著一種經濟邏輯——可以被消費、被標價、被選擇，而且被設定期限？
在《剩女經濟》中，藝術家蘇品文將以玩味的道具，引領觀眾一同拆解加諸於女性的各種標籤，重新審視兩性、身體與價值之間的關係。