示意圖（AI 生成），非現場照片｜Illustration (AI-generated), not a photo of the installation

六本木藝術之夜 2026 的展單裡，有一件作品把工業警示燈排成了嘴唇。

作品叫《Libido》（日文《リビドー》），由台灣的 UxU Studio 製作，主辦方的作品頁這樣寫：從正面或正後方看，浮出一對紅唇；繞到側面，燈光互相疊合，變成一顆心；從其餘角度看，形狀崩散，成了一團深紅的星塵雲。展出地點是六本木ヒルズ ノースタワー，日本當地 10 月 31 日（六）17:00 至 11 月 1 日（日）22:00，免費。換算成台灣時間，開展與閉幕的時間都比日本當地早一小時。今天是 10 月 26 日，還沒開展。

先把站位排好

這件作品的玩法，就是同一批燈、同一個空間，站在哪裡就看到什麼。街頭塗鴉也有類似的老把戲：有些字只有從對街的天橋看得清楚，走到牆前面反而成了一堆色塊。作品頁沒有交代燈具的數量、排法，也沒有說明怎麼讓不同角度看到不同形狀；能確定的，是它寫出來的三個觀看位置。

第一個位置在正面，也在正後方。作品頁特別把「真後面」和正面並列，這代表嘴唇是前後都成立的形狀，並非單面的圖案。先繞到背後的觀者，看到的仍是同一對唇。

第二個位置在側面。主辦方的說法是燈光「溶在一起、重疊」，變成心形。這一步很有意思：嘴唇和心形用的是同一批燈，視線一轉，原本分開的光點被眼睛併成了別的東西。主辦方沒有說明成像原理，這種效果有點像視差帶來的錯覺：換個位置看，同樣的物件在背景前面的相對位置就變了。

第三個位置是其餘所有角度。形狀散掉，只剩一團紅色的光點。作品頁對觀看角度只寫到這三種，其他位置會不會再出現別的形狀，要等開展後才看得到。

紅燈為什麼是這個題目

主辦方的說明把每一盞燈定位成刻在潛意識裡的本能「危險信號」，然後問了一個問題：危險讓人打住，還是反而把慾望點得更旺？警示燈本來的任務是叫人停下，這裡卻被排成嘴唇和心。停和靠近，用的是同一種紅。

作品頁的最後一句講得更直白：不論被肉體的渴望還是精神的嚮往推著走，面對最深的知覺，總是帶著不安和風險。這句是主辦方的詮釋，現場是否真有這種感覺，要等開展後站到燈前面才知道。

做這件作品的團隊

UxU Studio 是以台灣為據點、橫跨建築、設計與藝術的創意團隊，2013 年由陳冠宏與陳映竹成立，作品從產品設計到大型空間裝置都有，也多次參加國際燈光節與展覽。建築出身的團隊拿現成的工業燈具做「看的位置」這件事，路數其實很順：建築本來就是在教人怎麼走、從哪裡看。

用警示燈排嘴唇，這個團隊之前做過。2018 年第 7 屆阿姆斯特丹燈光節，UxU Studio 展出《Desire》，同樣以紅色警示燈排成一對嘴唇，主辦方介紹時寫道，從側面看嘴唇會消失、變成心跳。團隊當時說：「We use more than 1,500 warning lights. Everything was made by hand, which means that each step of the construction repeats itself more than 1,500 times.」（譯：用了超過 1,500 盞警示燈，全部手工製作，每一道組裝步驟都要重複 1,500 次以上。）（出處：Amsterdam Light Festival〈Meet the Artist: UxU Studio〉，第 7 屆展期 2018/11/29–2019/1/20）。《Libido》和《Desire》之間的關係，主辦方的作品頁沒有說明。

談到作品裡的技術，兩位創辦人在 Our Narratives 2025 年 6 月 27 日的專訪裡說：「We don’t pursue technology; we make it serve emotion and narrative.」（譯：不追求科技本身，讓科技替情感與敘事服務。）同一篇專訪也寫到，他們做作品時一貫要「introduce a touch of unfamiliarity into the familiar」（譯：在熟悉的事物裡放進一點陌生）。

實際的走法很簡單。十月三十一日傍晚進場，可以先站正面，再繞一圈，走到每一個形狀碎掉的地方停一下。燈具的數量、排列方式，都要等主辦方或團隊自己公布。

— 謝志豪

One Row of Warning Lights, Three Ways to See It

The Roppongi Art Night 2026 program (六本木藝術之夜 2026) includes a piece that arranges industrial warning lights into a pair of lips.

It is called 《Libido》 (《リビドー》), made by Taiwan’s UxU Studio. According to the organizer’s program page, seen from the front or from directly behind, a pair of red lips emerges. Walk around to the side and the lights overlap into a heart. From any other angle the form breaks apart into a crimson cloud of stardust. It is free, at 六本木ヒルズ ノースタワー (Roppongi Hills North Tower), from 17:00 on Saturday, October 31 to 22:00 on Sunday, November 1, Japan time. In Taiwan time, both the opening and closing times are one hour earlier. Today is October 26, so it has not opened yet.

Fix your position first

The whole game is that one set of lights in one space becomes something different depending on where a viewer stands. Street writers know a similar trick: some lettering reads clearly from a footbridge across the road and turns into a pile of color blocks up close at the wall. The program page does not give the number of lights, how they are laid out, or how the different shapes are produced; what it does set out are three viewing positions.

The first position is the front, and also directly behind. The page puts “directly behind” next to the front on purpose, which means the lips are not a one-sided picture. A viewer who walks to the back first still sees the same pair of lips.

The second is the side. The organizer’s wording is that the lights melt into each other and overlap into a heart. The lips and the heart use the same lights; the eye merges separate points into something else once the viewpoint shifts. The organizer does not explain how the effect is achieved; it is somewhat like the illusion created by parallax, where a change of standing position makes the same objects shift against what is behind them.

The third is everywhere else. The shape falls apart and only a mass of red points remains. The program page describes only these three views; whether other positions reveal anything else will be clear only once the piece opens.

Why red lights

The organizer describes each light as an instinctive “danger signal” carved into the subconscious, then asks whether danger makes a person stop or, paradoxically, stokes desire further. A warning light is built to say stop, and here it is arranged into lips and a heart. Stopping and approaching share the same red.

The page ends more bluntly: whether driven by physical craving or spiritual longing, facing one’s deepest perception always carries unease and risk. That is the organizer’s interpretation. Whether the room actually feels that way will only be known once people stand in front of the lights after it opens.

The team

UxU Studio is a Taiwan-based creative team working across architecture, design and art, founded in 2013 by 陳冠宏 and 陳映竹. Their work runs from product design to large spatial installations, with appearances at international light festivals and exhibitions. A team with an architecture background taking ready-made industrial lamps and making “where to look from” the subject is a natural fit: architecture is about teaching people where to walk and from where to see.

Lips made of warning lights are not new territory for the studio. At the 7th Amsterdam Light Festival in 2018, UxU Studio showed 《Desire》, a pair of lips built from red warning lights; the festival wrote that from the side the lips disappear and a heartbeat appears instead. The artists said at the time: “We use more than 1,500 warning lights. Everything was made by hand, which means that each step of the construction repeats itself more than 1,500 times.” (Source: Amsterdam Light Festival, “Meet the Artist: UxU Studio”, 7th edition, 29 November 2018 – 20 January 2019.) The organizer’s page for 《Libido》 does not say how the two works relate.

On the role of technology, the two founders told Our Narratives in an interview published 27 June 2025: “We don’t pursue technology; we make it serve emotion and narrative.” The same interview notes that their work aims to “introduce a touch of unfamiliarity into the familiar.”

The route is simple. Arriving on the evening of October 31, a visitor can stand at the front first, then circle the piece and stop wherever the shape falls apart. The number of lights and their layout remain for the organizer or the team to announce.

— 謝志豪

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