Conceptually, Hou’s new work isn’t so different from the Peek A Boo works made 13 years ago. She has said the focus of that series was the “male gaze.” Her newer work questions the same perspective but also includes criticism of the “Taiwanese gaze” and more broadly, in my opinion, an economic gaze that ranks people by their fiscal heritage.
Asked how the “Brides” series differs from documentary films or other direct forms of activism, she said: “Even other artists ask me about this: Is it pure [art]?”
Hou says she’s not bothered.
“I think if the audience feels it’s very sociopolitical-oriented, that’s a good thing.”
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