此為《已結束的展覽紀錄還會有意義嗎？》系列文最終篇！
常問自己，拍這些展覽的意義為何，而對他人的意義又是如何？
除了在展期分享推廣藝文活動以外，又有什麼幫助？
世上藝術作品極多，當展覽結束後，也許再也沒機會看到這些作品，那這些展覽紀錄該何去何從？
《感性機器：後資本主義時代的自我療癒》


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已結束的展覽紀錄還會有意義嗎（終）

無所事事盡情，讀書、寫字、畫畫、攝影、聽音樂 看似無用的興趣，卻能填補心中的缺口。過度理想浪漫主義的靈魂，無從抒發的情感。無所事事人生委員會用影像書寫情感，勾勒出一則一則的故事。主角可能是我，也是你，或是那個你也想著的那個人。喜歡的、討厭的、乖張的、壓抑的，放在這裡等待風乾。 
＃用影像書寫情感

Peiwen K的沙龍

Rebecca Horn / Performances II
‘Pencil Mask’ (‘Bleistiftmaske’) 1972 

Performances II 1972 is a thirty-five minute colour film shown as video consisting of a collection of performance works enacted for the camera. The performances focus on interventions on the human body, using feathers, hair and garment-like sculptures worn by a performer, and are set against a neutral background or an otherwise deserted outdoor location. Most actions are performed by one or two people, with the exception of ‘Head Extension’, which has five participants. Each of the segments that comprise Performances II is introduced by a title card bearing the individual title of each performance in German and its year of realisation, in white characters on black. The soundtrack consists of occasional ambient sounds, although it is mostly silent.

‘Pencil Mask’ (‘Bleistiftmaske’) 1972 shows the artist wearing a mask made out of green strips of fabric arranged in a grid, with a pencil mounted like a spike at each point where the strips cross. Rebeca Horn is seen frontally, touching an invisible surface with the tip of the pencils, then she turns towards a white vertical surface and proceeds to brush against it repeatedly, drawing layer after layer of lines as the pencils are dragged from side to side.

Film, 16mm, 1972