1998
木板、粉紅色泡棉、紅燈泡、沙發、保麗龍、金木框等
場地依尺寸而定
藝術家提供
*此作為「1998台北雙年展：欲望場域」委託製作
歡迎光臨《寶島賓館》！
華麗的玻璃門內透出幽暗的紅光、朱紅色的皮椅、併排連坐的包廂… …將記憶的時空帶到八〇年代錢淹腳目的台北，牛肉場、歌舞廳、公娼寮等情色場所林立。觀眾望眼欲穿卻止步於大門，視線直望向走道盡頭，遠遠一顆豬頭迎面而笑，彷彿當頭棒喝地嘲笑著人們想要偷窺和消費女體的慾望。
《寶島賓館》發表於「1998年台北雙年展：欲望場域」，藝術家吳瑪悧在美術館打造了全台唯一合法的色情賓館，以回應1997年時任市長陳水扁廢除公娼制度的決策。廢娼難道能消滅色情嗎？時隔三十年，華西街服務門面仍在，不過光景已逝，物是人非。這看似有魄力的「掃黃」決策，實則使性工作者失去國家的保護，越發受到非法色情業者的性剝削。
賓館門口的「為國捐軀」年表，是一部以娼妓視角書寫的台灣史。台灣女性性工作者，以身體和勞動參與了台灣的政治經濟發展；在情色經濟的層面上，男人享受了性工作者的身體和服務，卻不認可這種工作／者的社會權利。
Welcome to the Formosa Club!
The red-lit glass doors, crimson leather chairs, and lined booths take you back to 1980s Taipei, where brothels, karaoke bars, and public prostitution thrived. The audience is halted at the entrance, eyes drawn to a pig's head at the hallway's end, mocking the voyeuristic desire to consume women’s bodies.
Formosa Club was presented at the “1998 Taipei Biennale: Desire Field”. Artist Wu
Mali created the only legal brothel at the museum, responding to the 1997 decision by Mayor Chen Shui Bian to abolish the regulated prostitution system. Did the ban on brothels truly eliminate pornography? Thirty years later, while Huaxi Street still stands, times have changed. The decision, though bold, left sex workers vulnerable to exploitation by illegal operators, stripping away state protection.
The chronology of “Serve with Flesh” at the entrance of the hotel is a history of Taiwan written from the perspective of a prostitute. Their bodies and labor participated in Taiwan's political and economic growth, yet men enjoyed their services while denying their social rights.
