“Hi~~I’m✧*。٩(Guo Pinjun)و✧*。aka✧*。٩(Σ>-(Pin Jun★Future))♡→)و✧*aka。✧*。Pin Pin Future)و✧*。” – this is Taiwanese artist Guo Pinjun’s self-introduction. Through her preferred mediums of installation art, video, photos, and performing arts, Guo transforms Asian pop culture into a visual language of her very own. Her style is self-described as a blend of “infinite narcissism and an obsessive, cult-like sense of self-adoration.”
“嗨~我是✧*。٩(ˊ郭品君*)و✧*。aka✧*。٩(Σ>-(品君★未來)♡→)و✧*aka。✧*。٩( ピンピン未來)و✧*。” 这是一段来自台湾艺术家郭品君的自我介绍。装置、视觉、行为艺术是她创作的主要形式。她将大众流行文化做为视觉语言，呈现“无敌自恋自溺自爱的邪教教主风格 ”（来自品君自己的描述）。
✧*。(Single KTV)✧* is Guo’s recent art piece, combining installation art with performing art. “People don’t need a reason to go sing karaoke in Taiwan. It doesn’t matter if you’re in a good mood or a bad mood. It doesn’t matter if you’re a good singer or a bad singer. You can just go out and sing,” she says. “One night, I went to sing with my friends, and I sang a bunch of sad, lovesick songs in a row, such as SHE’s ‘Not Yet Lovers’ and Twins’ ‘Jian Xi Ai Shen.’ I was getting really into it and dancing around when I noticed one of my friends was staring at me in a pitiful way. She asked me, ‘Pinjun, are you desperate to meet a boyfriend?’ It was then that this idea came to me. Does singing love songs, after seven years of being single, look really sad in front of people? Does being single mean I can’t sing love songs?” For this art piece, she set up a unique KTV booth in a public space, inviting strangers to join her or watch her sing karaoke. By doing this, Guo hopes to initiate a conversation on the subject of loneliness with her audience and explore how society views “single” people.
Taiwanese pop culture at the turn of the millennium is one of the most prevalent influences in Guo’s art. In the early 2000s, as Guo sought to figure out her own identity as a teenager, a Japanese craze was sweeping through Taiwan, introducing things like Ganguro fashion, old school Decora style, anime, and sticker photo booths. “The interesting thing is that I absorbed these elements of Japanese pop culture after Taiwan had localized it,” she says. “So in a way, my work is a fusion of Taiwanese and Japanese styles.”
千禧时期的台湾流行文化对品君创作影像风格带来很深的影响。从2000年开始，她渐渐进入脱离爸妈全权掌握，有点想要自己决定喜欢什么、爱追随流行的青少年时期，而当时台湾正在风靡一股非常强烈的哈日风潮。109辣妹、old school Decora视觉系、动漫、拍贴机等等的这些日本流行文化，影响着她的成长。“有趣的点在于，我所吸收的都是台湾‘在地化’过后的日本流行文化，因此从我的影像中可以看到的是一种台日混血的风格呈现。”
Aside from her own artworks, Guo was eager to share with us a list of some of her favorite modern creatives, including Japan’s Magma, Taiwanese designer JennyFax, British filmmaker Nadia Lee Cohen, Japan’s creative collective Chim↑Pom, and French conceptual artist Sophie Calle. “My favorite art is art that’s very decorative, with aesthetics that people might consider kitsch. I also enjoy the inclusion of some dark humor, a little playfulness, and a bit of craziness. My own work is also moving in this direction.”