The exhibition "Sunday in Wanhua" offers viewers an opportunity to reflect on their relationship with the environment by examining the bustling district of Wanhua from various angles. The modified garbage truck situated in the district prompts viewers to look deeper and engage with their surroundings. Through the use of everyday objects, the artists Wu Quan-En and Chou Yen-Hsu employ a double transformation technique, anthropomorphizing objects and imbuing them with human qualities through photography. By incorporating the symbolism of garbage bins to merge with the lives of the homeless, the artists foster closer connections and interactions between people and their surroundings.
The artists adopt a spy's viewpoint to document life in the living spaces of Wanhua, where the ecology can be classified into three types: homelessness, sex industry, and culture. The exhibition explores possibilities for intervention in these three areas to offer viewers different perspectives on society. In the culturally rich district of Wanhua, unique architectural spaces are prevalent, but their production is shaped by underlying power dynamics that shape social relations. For example, urban design can contribute to racial and class segregation, as seen in the park benches that are designed or cordoned off to prevent homeless people from sleeping or residing there.
Through the use of various alleyways, spaces become conducive to the survival of the sex industry, while Longshan Temple serves as a beacon of faith, drawing a diverse mix of people to the area. The artists aim to create works that mimic biological movements, preserving the playful sense of tracking and peeking in the process. By engaging with people from different social strata, the artists create unexpected conversations with the public and offer a unique perspective on life in Wanhua.