工具蟹，與一位清潔工之死 ／ 混種殘片系統 第五部曲
散文詩、清潔劑的味道、數位製圖於布料、錄像 / 聲音裝置（裝置組合依展場變動）
謝騆瑜 Jhouyu HSIEH
2025
The Tool-Crab, and the Death of a Sanitation Worker
Hybrid Fragment System. 5
Prose-poem, the Scent of Detergent, Digital Drawing on Fabric, Video / Sound Installation (configurations vary by exhibition site)
Dimensions Variable
Jhouyu HSIEH
2025
勞動遺留的身體，最終會以什麼形態回來？
〈工具蟹〉是我長期創作計劃《混種殘片系統（Hybrid Fragment System）》中的一項子模組。我想像了一名清潔隊夜班員工的故事：在濕潤、腐蝕、低伏的地下停車場，他與「工具蟹」相遇，這些由破掃把、濕布料與廢棄清潔劑瓶組合而成的蟹形神格，並非單純的都市怪譚，而是一種潛伏於基層勞動縫隙中的「剩餘信仰」。
在影像裡，我刻意讓『潮濕陰暗』的神話想像與實際明亮的百貨空間並置，讓神祇顯現在最不神祕的地方，那種落差本身是異化的核心。
What form will the remains of labor finally return in?
The Tool-Crab is a sub-module of my long-term project Hybrid Fragment System. It begins with the imagined story of a night-shift sanitation worker who encounters the “tool-crab” in a damp, corroded underground parking lot. These crab-shaped deities, assembled from broken brooms, soaked fabrics, and discarded detergent bottles, are not merely urban phantoms but embodiments of a subterranean “faith of residues” that inhabits the fissures of precarious labor.
In the video, I deliberately juxtapose the mythical imagination of 'damp and shadow' with the actual bright space of the department store, allowing the deity to manifest in the least mysterious of places. That very discrepancy is the core of alienation.
2025
The Tool-Crab, and the Death of a Sanitation Worker
Hybrid Fragment System. 5
Prose-poem, the Scent of Detergent, Digital Drawing on Fabric, Video / Sound Installation (configurations vary by exhibition site)
Dimensions Variable
Jhouyu HSIEH
2025
勞動遺留的身體，最終會以什麼形態回來？
〈工具蟹〉是我長期創作計劃《混種殘片系統（Hybrid Fragment System）》中的一項子模組。我想像了一名清潔隊夜班員工的故事：在濕潤、腐蝕、低伏的地下停車場，他與「工具蟹」相遇，這些由破掃把、濕布料與廢棄清潔劑瓶組合而成的蟹形神格，並非單純的都市怪譚，而是一種潛伏於基層勞動縫隙中的「剩餘信仰」。
在影像裡，我刻意讓『潮濕陰暗』的神話想像與實際明亮的百貨空間並置，讓神祇顯現在最不神祕的地方，那種落差本身是異化的核心。
What form will the remains of labor finally return in?
The Tool-Crab is a sub-module of my long-term project Hybrid Fragment System. It begins with the imagined story of a night-shift sanitation worker who encounters the “tool-crab” in a damp, corroded underground parking lot. These crab-shaped deities, assembled from broken brooms, soaked fabrics, and discarded detergent bottles, are not merely urban phantoms but embodiments of a subterranean “faith of residues” that inhabits the fissures of precarious labor.
In the video, I deliberately juxtapose the mythical imagination of 'damp and shadow' with the actual bright space of the department store, allowing the deity to manifest in the least mysterious of places. That very discrepancy is the core of alienation.
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