In Addicted, 12 commercial actors and actresses are invited to participate in a group photoshoot mimicking the cover of the Vanity Fair magazine, while performing the roles they usually play in commercials proficiently and cooperatively. As the camera moves along, each of the characters presents a short yet intimate monologue to the camera. In rigid poses, they confess their anxieties and frustrations about their bodies, minds, and lifestyles—perfectly put-together patients with internal sufferings. The viewers also gradually realize that these people are attending a spiritually minded meeting for addiction recovery à la Alcoholics Anonymous. In this work, the actors’ monologues are juxtaposed with group portraits of the Dutch Golden Age. The artist bridges past and present with the aesthetics of schuttersstuk and regentenstuk, continuing his exploration in the reality of “artificial concepts” since 2016.
在影像《中毒》中，藝術家挑選並邀請 12 位廣告演員，讓他們以其在曾經各自廣告片中的形象，模擬了一次《名利場》雜誌封面照式的群像拍攝。隨著鏡頭的推移，這些人物逐個的面對鏡頭講述簡短又私密的獨白。演員們擺著僵硬的造型， 袒露有關身體、心理、生活方式的焦慮或苦悶，而這些獨白的內容則是隱去了具體商品信息的廣告片台詞。而觀眾也慢慢從他們的交流方式中意識到，他們的聚集其實是一個「 戒酒勸助會」(Alcoholics Anonymous Group) 式的成癮症候心理救助現場。在影像中，演員獨白與荷蘭黃金時代群像繪畫交替出現，藝術家以群像美學為線索展現當下與歷史中「 焦慮」的關聯，延續了自2016 年來對「 人造觀念」的實在性這一命題的探討。