In 1975, former Vice President of Taiwan, Hsieh Tung-Min, had a famous slogan: “Family is Factory,” promoting family subcontractors, which created the Taiwan economic miracle. But the question is: whether “art creation” is itself a productive activity or a consuming behavior?Thus, the author applies for “family subcontracting” as the practice, intending to find the "work value” outside of art to contrast with the artist’s naiveté of “voluntarily deceived" within the field.
The author proposed the slogan “Living Room is the Exhibition” with my “Housewife Creating Projects” to appropriate the private space of home or family house as an exhibition space for the artwork creation since 2002. Apart from the mainstream concept of the exhibition space of artwork, we have to ask the industrial relations embedded in the art institution as well as what is the consuming logic, concerning the question of “Is Labor the Production?” This is another question proposed at that time. Thus, the author searches for the family subcontracting in the newspaper and attempts to apply it in place of the labor of art creation. Also, this is an irony of its labor exploitation and even deception.
The artist found a family subcontracting job of glass coloring balls and prepaid NT$12,000 for the cost of the materials, with the contract of each coloring ball completion for NT$8. The contract was, however, a fraud that you could not further appeal if the products were returned for unreasonable reasons. The work I thought was impeccable was then rejected without a reasonable reason. After a few days, I found that the fraudulent gangster had moved away and the colored balls lost their destination of existence. If we probe the glass colored balls further, we can find that the product is incomplete, which is suspended by its decorative or practical purposes, out of the quotidian practicality. Moreover, it appears to be more like the fictive need and goal ingeniously invented by the fraudulent gangster.
According to Karl Marx, surplus value refers roughly to “generic gross profit” exploited from the laborers, which is the difference between the labor value and the wages for the labor. This is the labor occupied by the capitalist unpaid. Then we have to interrogate whether the surplus value of artworks rely on its exploitation of the labor of artist.
The period of the exhibition "Self Stalker-Projected History" (2010/12/5-12/26) falls on Christmas, a time for festivities and consumption. The author has designed a “Christmas celebration” situation in order to make colored balls into a product again. After eight years, what are their values after the author strives to market and package the balls? Of course, this question is determined by the price label of the product as marked by the audience.
The artist thinks that it would be inappropriate and bizarre to bring Christmas into Dachi Village, where the local peasants might found it to be an odd event, or even the art exhibition included. In addition, the artist carried out the video creation of the local old Banyan in the village with the image of colored balls mentioned above; and tried to invite the local residents into TNNUA, making the chance to engage with each other. The artist is concerned not about a unilateral way of engaging the community but creating interaction.