日期 Dates｜2022.06.04－08.06
地點 Venue｜TKG+ Projects，台北，Taipei
策展人 Curator｜莊偉慈 Chuang Wei-Tzu
TKG+ Projects 即將於 2022 年 6 月4 號舉辦以探討同志議題為主的展覽「背陽—情慾伏流及其隱現」，本展覽邀請策展人莊偉慈策展，內容藉由圖像組構、影像敘事、聲音表現、民間譚的拆解重組，邀請藝術家張允菡、楊雨樵、張紋瑄、廖海廷、范揚宗、呂浩元、簡翊洪、羅智信、黃孟雯，以及沃時文化的三位研究者蔡雨辰、陳韋臻、陳佩甄等，就同志情慾的流動路徑和潛藏敘事，進行考掘並重現。
「背陽」一展的理論基礎，立基於精神分析和（性慾特質的）社會建構論之上。展名「背陽」除了可由字面上「背對太陽」的意義解讀，指涉同志情慾的隱匿狀態，另也連結至精神分析理論中以「陽具」（phallus）以及陽性中心主義（phallocentrism）做為象徵意義的內涵。「背陽」作為動詞，即是試圖探索同性或酷兒的情慾狀態—這些迥異於異性戀的慾望，是如何逃逸或繞過以陽性中心主義為主的秩序，重新建立起具流動性與異質性的敘事？展覽藉由創作思索象徵秩序所建構的情慾特質，以及藉此展現同志或酷兒情慾的多元面貌。
循此，在「背陽」一展中，策展人分由三個面向解讀情慾伏流及其隱現的狀態。首先是視覺符號，這部分由繪畫作品切入，由藝術家范揚宗、呂浩元和簡翊洪的作品，以理解他們如何透過圖象嵌合情慾與相關符號，重新編織成具曖昧性的視覺文本。范揚宗之作品《泳池系列－暗色的磁磚》，以輕盈的視角聚焦在屬於公共空間的游泳池，畫面展現出對男性身體無可迴避的凝視和慾望。呂浩元本次展出的作品如《ㄚ ㄚ 》、《八爪魚》和《藤壺》，透過靜物描繪借代情慾的樣貌，大膽地將物件中與性主題相符合的形象以精緻的方式呈現，以此對比出情慾的淌流和不可被言說的禁忌。簡翊洪的作品《問愛書》和《欲愛集》，收集了草圖中難以用單一畫面呈現的碎片，這些情感碎片以小尺幅的閱讀設定，將觀眾帶入與藝術家一對一的私密情境。本次展覽中唯一的立體作品，是羅智信的新作《Sink, Sunk, Suck I》、《Sink, Sunk, Suck II》和《Sink, Sunk, Suck III》，藝術家以其擅長的物件研究與材質實驗手法，建構一個被投射以慾望與想像的虛幻場景。
展覽第二個部分聚焦於聲音、影像和敘事。張紋瑄與廖海廷的作品《F 的故事》，從聆聽作為辨識主體為基礎開展。這件以文字、音樂與聲音交錯編織的作品，從人聲出發，探討聲音的物質性與主體建構的關係，層層的結構組織，最後指向對性慾特質的非二元化的理解。張允菡和楊雨樵合作的作品《最後剩下的全是內臟》，從民間譚（Folktale，或作民譚、民間故事）此一民間文學的體裁為基礎，探索民間譚特有的敘事結構如何在流傳與散佈的型態中，針對同志情慾敘事進行重演（reenactment）與重述（retell）。黃孟雯的《遊蕩》來自近年她持續發展的藝術計畫，聚焦關注台灣近代史中的性別脈絡與身體研究。本次新作將以一組編導式攝影與文件展示，回溯戒嚴時期《違警罰法》中「奇裝異服」與「遊蕩」相關取締法規，探究在台灣戒嚴時期中，酷兒的身體自由在高壓保守年代如何被看待與被汙名，展演遊蕩在父權社會中隱匿的酷兒情慾身分。
最後一個部分為影音裝置及文件作品《女同性戀仨》。沃時文化的三位研究者蔡雨辰、陳韋臻、陳佩甄，以近年所進行的研究計畫「再現．抵抗．瓦解：一次重訪台灣同志污名史的邀請」、「女同志文化記憶庫」為基礎開展。本次展覽，除了再現 90 年代同志文化、認同、運動的檔案資料，三位研究者將融合記憶經驗的創作形式與聲音檔案的製作，讓文本和聲音交互對照，思考檔案與個體經驗的關係。
「背陽」試圖藉由作品的組織和展覽呈現，揭示情慾流動的可能及其隱藏／現身的樣態，並挑戰二元邏輯下的性別建構基礎。而本展也預期能展現出當代藝術詮釋情慾流動的潛能，以及提供觀眾另一種視角，以此理解同志／酷兒族群與其情慾的面貌。
TKG+ Projects is pleased to present (de)phallocentrism, a group exhibition curated by Chuang Wei-Tzu. Aiming to reconfigure notions of queer desire through image, visual narrative, sound performance, and folktales, this exhibition comprises works of artists Chang Yun-Han, Yang Yu-Chiao, Chang Wen-Hsuan, Liao Hai-Ting, Fan Yang-Tsung, Lu Hao-Yuan, Jian Yi-Hong, Huang Meng-Wen, Luo Jr-Shin, as well as three researchers from Cultime Co.: Tsai Yu-Chen, Chen Wei-Chen, and Chen Pei-Jean, to examine the fluid nature and hidden narratives of queer eroticism.
The theoretical framework of this exhibition lies in the psychoanalysis and social construction of sexuality. The exhibition’s Chinese title – which translates to “turning your back to the sun” – not only evokes the clandestine nature of queer eroticism, but is further linked to concepts of the phallus and phallocentrism in psychoanalytic theory. Conceptualized as a cognitive process, de(phallocentrism) is an attempt to explore states of queer desire, and how such desires can escape or bypass the dominant, masculine-centric order and re-establish a narrative of fluidity and heterogeneity. This exhibition contemplates, challenges, and deconstructs the erotic qualities denoted by symbolic order, ultimately presenting a multifaceted view of queer eroticism.
de(phallocentrism) interprets the ambient flow of eroticism and its clandestine nature from three perspectives. The first section consists of paintings and illustrations that explore how eroticism is embedded in and conveyed through certain images and symbolic referents. In Swimming Pool Series – Dark Tiles (2019), Fan Yang-Tsung depicts a male figure seated at the edge of a public pool with his back turned, delicately embodying the inescapable gaze and lust for the male body. Lu Hao-Yuan captures the spirit of eroticism through still life in his works Ducks (2020), Octopus (2017), and Barnacles (2015). In each painting, the artist renders a symbolically-charged object in a bold and refined manner, underscoring tensions between the flow of eroticism and unspeakable taboos. Jian Yi-Hong’s A Book: What Is Love? (2022) collects sketches of intimate moments that are difficult to capture in a single frame. The small scale of these emotionally-charged illustrations requires the viewer to read them closely, drawing the viewer into an intimate one-on-one dialogue with the artist. Sink, Sunk, Suck I-III (2022), Luo Jr-Shin’s latest piece and the only three-dimensional work in this exhibition, evokes a surreal space constructed with desire and imagination through his experimental approach to objects and mediums.
The second section of the exhibition turns to sound, image, and narrative. Beginning with the human voice and incorporating text, music, and sound, The F Story (2022) by Chang Wen-Hsuan and Liao Hai-Ting explores the relationship between the materiality of sound, the construction of the subject, and layered meaning, ultimately configuring a non-binary understanding of sexual desire. Chang Yun-Han and Yang Yu-Chiao’s collaborative work Vestigials (2022) is inspired by the unique narrative structure of folktales, and it examines the reenactment and re-telling of stories as a means of circulating and disseminating queer erotic narratives. Huang Meng-Wen’s Wandering (2022) is part of an ongoing project in which she investigates notions of gender and the body in modern Taiwanese history. In this new work, the artist presents a curated selection of photographs and historical documents – including excerpts of the Police Violation Punishment Laws that banned “exotic clothing” and “loitering” during the martial law era – to explore how queer bodily expression was stigmatized throughout the oppressive regime, while showcasing how queer identities were covertly expressed in a conservative patriarchal society.
The final section of the exhibition consists of an audio-visual installation and documentary work titled Lesbian Trio (2022) by Chen Wei-Chen, Chen Pei-Jean, and Tsai Yu-Chen from Cultime Co. This work is an extension of the group’s other research projects in recent years, including “Representation, Resistance, Reconciliation: Tracing the History of Tongzhi (LGBT) Stigma in Taiwan” and “Lesbian Culture Archives.” In addition to excavating the archives of the queer culture and identity movement in the 1990s, the researchers integrate the experience of memory with the archival sounds, allowing text and sound to interact, pondering the relationship between archives and individual experience.
Through the curated presentation of these works, de(phallocentrism) endeavors to explore the potential of erotic flow and its covert manifestations as a means to challenge the gender binary construct. The exhibition further demonstrates the capacity for contemporary art to convey and command the flow of eroticism, providing the viewer with an alternative perspective on the queer community and its erotic landscape.