Dozens of men and women formally dressed, blindfolded and covered in mud, walk slowly, poetically interfering in the flow of the city. “BLIND” is a work open to different readings: the reducing of our existence to the productive function and consumption, overwork, imprisonment and petrification of life, the automation of everyday life, and the ethical degeneration that spreads in the current state of society. The interaction of the performers with spaces that symbolizes the political and financial axis causes critical estrangement in the urban landscape.
在某個2017年World Stage Design展期的某一個週末午後，在台北城市裡、西門町街頭開始，台北市民們也看到了圖中這般景象。藝術出走美術館，來到現實生活裡你我熟悉的場景之一 – 西門町。
他們眼睛被矇住、他們不發一語，而且走得緩慢。令人難以視若無睹的是，他們每一個雖面無表情，但卻隱隱約約地再現了一種無聲的表達。
The shock visual of petrification of bodies, alienated behavior and extreme slowness of movement, instigate a reflection about the various forms of blindness, as well as the impoverishment of human experience due to the increasing of commercialization of art and bodies.
《不見》2012年在巴西首演，由Desvio Coletivo這一群當代劇場界的創作者，令劇場、城市、表演三個字難以分界。在學術上，他們也曾屬國際表演與政治研究所的一員（8th International Encuentro of the Hemispheric Institute of Performance and Politics），至今已用如此石化的身體，曾出現在歐美二十九個城市中，看了他們的表現和行為，看過一次便難以忘懷的人們，都不禁猜測這件作品的背後意涵。
First held in 2012, attended the Program Palco Giratório, circled by 29 cities from all regions of Brazil, as well as Europe and USA. Desvio Coletivo is a network of creators in contemporary theater scene that acts in the border zone between theater, performance and urban intervention. By creating projects and interventions in urban spaces, the collective aims to generate ephemeral disorder islands of poetic and critical position.
這件存在各式各樣解釋的作品，他們去過的城市，大部分都是鼎鼎有名的大城市，有人說，他們在對城市發出無聲的抗議；
而許多時候演出者皆著正裝，有人說他們在向城市裡的某種無形權威表達諷刺；其中更有著一幕演出是，泥人們向著機關單位敬禮，有人說，他們在用那一身泥濘的身體，向權威致敬。
The vast array of performances, exhibits, roundtables, workshops, lectures and work groups of this Encuentro were particularly interested in the ways in which bodies both interpellate and are interpellated, mobilize and are mobilized, by and around the diverse and complex ‘passions’ that are so defining of our globalized and mediatized present – fear, hatred, disenchantment, hope and faith, among others.
