想像的身體邊界

Imaginary Body Boundary

💀 展期 Duration：2015/08/15-10/04

💀 開幕 Opening：2015/08/14   19:00 (五)  @噪咖大廳

💀 地點 Venue：台北數位藝術中心

💀 地址 Address：111台北市士林區福華路180號；近捷運淡水線芝山捷運站二號出口

【注意事項】本展作品含有裸露與血腥內容，未滿六歲之兒童不得觀賞，六歲以上十二歲未滿之兒童需父母、師長或成年親友陪伴輔導觀賞。

主辦單位：財團法人數位藝術基金會

承辦單位：台北數位藝術中心

指導單位：台北市文化局

贊助單位：國家文化藝術基金會

💀 展覽介紹 💀

廣義的生物科技(如醫學美容、基因工程、合成生物學等)快速的發展，人類因此得以更全面的修改甚至創造一具自己更滿意的身體，身體成為個人的彰顯、自我表現的載具。人類看似從造物主的手中奪回了身體的自主權而得以解放，但其實卻不然，在造物主之後、科學領域中，對大多數人而言不存在的經驗與透過想像習得的科學知識，成為新世代的造物主。藏身於推陳出新的科技，在你我的身體上設下一道道看不見的邊界。

真正的邊界往往是不可見的，只有在被無知者誤觸時會短暫的被顯露出來，當然，偶爾也是會有意識清晰的游牧者向邊界提出挑戰。在圍繞著「造物主」提出「誰決定你我的身體邊界」與「如何奪回身體的自主(治)權」的過程裡，各種生物科技將不斷以無害的協助者一般的角色現身其中，讓人以為在這個世代，身體與科技的關係一再證明的是你我都早已是自己身體的擁有者與創造者，而忽略了「科技─身體」的關係之上，還有「科學─科技─身體」這組更大的結構存在，而科學知識正是真正左右科技如何作用於人類身體的藏鏡人。觀察時下經過醫美整形、藥物治療、手術治療等等所「美化」、「正常化」或者「去疾病化」的身體，正是窺見這些躲藏在技術與科技後的知識框架與意識形態，如何形塑人們認知(或者想像)身體的最佳視角。

自十六世紀中葉起，歐洲學院裡對人體解剖的風氣才漸漸興盛，知識分子(醫師)從純粹從事思考活動的人，成為動手操作與經驗的人。醫學科學的知識生產者自此比從前更精確的掌握人體，更有系統地建立起關於身體的知識，尤其在《論人體構造》一書問世後，如同該書的作者安瑞亞斯‧華薩流思(Andreas Vesalius)所言：「它提供了一種分辨正常與異常的方法。」也就是說透過解剖的實際經驗與歸納，以經驗主義的合法性作為基礎，醫學成為一種科學，並逐漸生產出一套能夠將人體標準化的知識系統，這套標準發展延續至今，成為大多數人認知身體的主要途徑。

然而對大多數的人而言並沒有所謂的觀察與經驗作為知識的基礎，只能夠透過想像去建構不存在的經驗而使學習成為可能，這些人的經驗被知識的生產者「代理」而成為被動的、單向的知識接收者。本次參覽的藝術家選擇滲透各種看不見的薄膜間，穿梭在「知識─科技─身體」三者間的各種空隙，成為更靈活且更具能動性的知識生產主體。在來回滲透的摩擦之際使透明的邊界成為可見，並以反身性的批判姿態，建立更具有主體性與身體感的身體知識，又巧妙的將現存於科學知識中的意識形態與權力位階展露了出來，一反過往依循科學知識來使用科技的邏輯，實踐出雙向而具辯證空間的知識生產途徑。

💀 Exhibition Introduction 💀

Due to the rapid development of the general bio-techs such as the aesthetic medicine, genetic engineering, synthetic biology and etc, human beings have aware of ways to better revise or to create a body that contents us more. Bodies have become self-identities, mediums to present ourselves. We seem to seize back the body autonomy from the Creator and release it, but the fact that lies behind the Creator is the scientific disciplines which are often ignored by most of us. Working though the scientific experiences and the knowledge acquiring through the imagination on science to stand out as the new Creator of the next generation. Tthere is one invisible boundary hidden behind the latest technology.

The real boundary stays invisible. It reveals itself only when the innocent accidentally touch it. And no doubt once in a while, some clever decoy would throw down their challenges to it. Haunted in the dilemma of “who determine our body boundaries” by “the Creator” and “how to seize back the autonomy”, different types of bio-techs plays the role of the harmless supporters. People believe that the relation of body and technology has again and again proved that we are the real owners and the Creators of our bodies, so they ignore that upper the “tech-body” relation, there is a greater “science-technology-body” relation, and that scientific knowledge has always been the mastermind that truly control the progress of technology. With the observation of the “embellishing”, “normalized”or “discriminative” bodies, we are able to detect the knowledge frame and the ideology on how to present the perfect bodies we acknowledge (or imagine) behind the techniques.

Anthropotomy began to flourish in the European schools since the mid sixteenth century. The intelligentsia, including doctors, weren’t only those who think, but they turned into the manipulators. Knowledge producers in medicine sciences have mastered in human bodies ever since and so on systematically developed further information about it especially when On the Fabric of the Human Body was published in 1543. As Andreas Vesalius, the author of the book, goes, “The book provides a way to distinguish normality from abnormality.” Through the actual experiences of the anatomy and its inductions so to speak, medicine has officially become a type of science, under the bases of the legality of empiricism. Medicine science has gradually developed a knowledge system which standardizes human figures. The standard lasts till now and eventually becomes a common process to acquire the body.

However, most of the people never have a chance to observe and experience the body functions and make them the groundworks of the scientific knowledge. They can only imagine those nonexistent experiences to make the acquisition possible. Knowledge producers become their “agents”; they’re the passive, simplex knowledge receivers. The exhibited artists this time decide to permeate all the invisible thin films, sauntering across the tripartite, “knowledge- technology- body”. Furthermore standing as reflexive critics, they develop a body knowledge that’s subjective and more related to the senses of the body; at the same time reveal the ideologies and power classes in scientific knowledge. Differ from the precious technology using logic on the bases of scientific knowledge, this time the exhibition has made two -ways, dialectical knowledge production into actual practices.

💀 關於策展人 💀

孫以臻

畢業於國立台灣大學生命科學系，曾立志成為純科學家卻不小心走歪又發現─原來事情並不單純─越走越歪變成不務正業的混種人。想要嘗試各種類型的策展與文化(再)生產。目前就讀於國立臺北藝術大學藝術跨領域研究所。

Yi-Cheng SUN

She graduated from the Department of Life Science, National Taiwan University, who aspired to become a “pure” scientist but accidentally go on an unusual way then become a “hybrid”. She wants to try various types of curatorial and cultural (re-) produce. Currently studying at Graduate Institute of Trans-disciplinary Arts, Taipei National University of the Arts.

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💀 關於藝術家 💀

長谷川愛 (日本) 

英國皇家藝術學院設計互動碩士，目前為美國麻省理工學院媒體研究室成員，過去曾擔任動畫師、角色設計師與插畫家等多種職位。愛的創作中總能夠透過藝術與設計，為當下人類的處境提供意想不到的解決方式或反思空間。

林沛瑩 (台灣)

畢業於英國皇家藝術學院設計互動碩士，以及國立清華大學生命科學系。創辦台灣生物藝術社群，嘗試利用藝術所能提供的靈活度討論科學中所無法討論的議題，例如文化、語言、情感、倫理與感知，等等出發於理性的感性議題。

克勞‧金齊 (智利)

現居西班牙，為PECHBLENDA的成員。PECHBLENDA是一個關於生物、電子和化學科技的跨領域實驗室，實驗領域包括開源生物技術、電子裝置、開源軟硬體以及身體研究，不定時地的進行表演藝術與性/別和身體的議題研究，並推動跨性別女性主義運動。

郭城 (中國)

畢業於英國皇家藝術學院設計產品碩士。現工作於上海與北京，上海同濟大學中芬中心藝科實踐實驗室負責人。作為一個設計背景出身的多媒體藝術家，郭城作品常以機械裝置與錄像的形式呈現，提出對人類身體的想像，試圖探討科學、人與社會的關係。

顧廣毅 (台灣)

畢業於於國立陽明大學臨床牙醫學研究所以及實踐大學媒體傳達設計研究所，台灣生物藝術社群的共同創辦人，具有牙醫師與視覺創作者的雙重身分。透過「生物藝術」跨領域創作與推廣，試圖拓展藝術與科學結合的可能性。

💀 About the Artist 💀

Ai Hasegawa (Japan)

Graduated with MA in Design Interactions at The Royal College of Art, UK. Researcher of MIT Media Lab. Ai Hasegawa has a background as an animator, character designer, illustrator and concept designer for public art. She uses art and design to present a rethink or solution to the challenges encountered in our daily lives.

Pei-Ying Lin (Taiwan)

Pei-Ying is an artist, designer and programmer with an MA in design interactions, Royal College of Art, and a BSc in life science, minor in computer science and cultural studies from National Tsing Hua University, Taiwan. Her main focus is on the combination of science and human society through artistic methods. She currently runs a Taiwanese BioArt community in Taiwan.

Klau Kinki (Chile)

Currently lives in Span. She’s a member of PECHBLENDA, an interdisciplinary laboratory of bio-electro-chemical experimentation. Members of PECHBLENDA also work with biohacking, electronics, and body research, promoting gender-body issues and transfeminist movements.

Cheng Guo (China)

Graduated with an MA in Interactions Design at The Royal College of Art. He is currently based in Shanghai, serving as Executive Director at Lab of Critical Art-Science Practice in Tongji University. He works mainly focuses on exploring the possibility of human body through installation, object and video and tries to create narrative within science, human beings and society.

Kuang-Yi Ku (Taiwan)

Graduated with Master of Science in Clinical Dentistry in National Yang-Ming University and MA in Communication Design at Shih Chien University. Co-founder of TW Bioart Community. As a dentist and visual artist, he tries to explore the possibility of inter-disciplinary between art and science through bio-art.

💀 作品介紹 1

我要生海豚

影像長度 │ 2分29秒

年份 │ 2012

媒材 │ 單頻錄像、模型、輸出品

藝術家 │ 長谷川愛 Ai Hasegawa

我要生海豚是長谷川愛在和科學家討論後，結合生物科技對人類的「生殖能力」做的一次大膽假設。藝術家以一種違反達爾文演化論─個體以繁衍後代使自身遺傳物質得以延續─的思維，想像將海豚的合成胎盤置入人類子宮當中，來輔助人類生產瀕臨絕種的毛氏海豚，以面對全球人口過剩而生物多樣性快速降低的現象。

💀 Work 1

Title : I Wanna Deliver a Dolphin…

Length : 2’29”

Year of Creation : 2012

Media : vedio, model, image

Artist : Ai Hasegawa

Member of MIT Media Lab. Hasegawa Ai worked as an animator, character designer and illustrator. She uses art and design to present a rethink or solution to the challenges encountered in our daily lives.

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💀 作品介紹 2

天花症候群

年份 │ 2011-2015

藝術家 │ 林沛瑩 Pei-Ying Lin

《天花症候群》從現在的世界與科學研究，以科幻框架帶到2030年，以一個極可能的未來科技預測，探索人類與傳染性疾病共同面對所造成的一種新的生活狀態、人際互動、身體美學，並探討生物倫理在這樣模糊地帶中可能提出的新議題。

攝影協力：法國炸影像工作室 陳立緯

模特兒：吳倚伶、吳柏旻、甘志雨、任倪君、李嘉同、林芝吟

科學顧問：潘承宗

特別感謝：吳倚伶、麥舘碩、孫以臻、莊志維、彭博

💀 Work 2

Smallpox Syndrome

Year of Creation : 2011-2015

Artist : Pei-Ying Lin

Smallpox Syndrome takes the currently existing science research and projected to the year of 2030 within a science fiction framework. The project exploring a new possible life style, human interactions, body aesthetics, where human and infectious diseases conjugates. It also investigates the potential concerns of bioethics within this possible world.

Photography: FrenchFries.tw Li-Wei Chen

Models: Yi-Ling Wu, Pomin Wu, Chih-Yu Kan, Ni-Chun Jen, Kent Lee, Jhih-Yin Lin

Science Consultant: Fenix Cheng-Tsung Pan

Special Thanks: Yi-Ling Wu. Guan-Shuo Mai, Yi-Cheng Sun, Chih-Wei Chuang, Po Peng

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💀 作品介紹 3

安娜恰腺(安娜恰、露西與貝特西)

年份 │ 2014-2015

媒材 │ 單頻錄像、複合媒材

藝術家 │ 克勞‧金齊 Klau Kinki

「安娜恰腺」在婦產科學中被命名為「斯基恩氏腺」，是位於女性尿道口附近的腺體，負責女性在性高潮時的體液分泌。美國醫師亞歷山大‧斯基恩以家中的黑人女傭─安娜恰、露西與貝特西─為觀察對象，發現並為這種女性特有的腺體命名為「斯基恩氏腺」，是為整個計畫開始的開始。

計畫分為兩部分：第一部分是針對「婦產科學史」的自主研究計畫與線上資料的共享；第二部分則從對身體器官的再命名，到身體疾病的自我診斷與知識生產，透過組織生活中的實踐，企圖重新書寫一部「女性的婦科史」。

💀 Work 3

Anarchagland (Anarcha, Lucy & Betsey)
Year of Creation : 2014-2015
Media : video, Mixed media
Artist : Klau Kinki

In the field of gynecology, anarcha gland is named as Skene’s gland because of the male doctor who observed it on the female slaves’ body. They are Anacha, Lucy and Betsey. The function of anarcha gland is to produce(secret) the fluid of female ejaculation.

The first section of the project is an autonomous-research project about the history of gynecology. And the second is series practice, including re-naming anarcha gland, self-diagnosis. In this way, they try to re-write the history of gynecology of female.

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💀 作品介紹 4

嘴工廠

年份 │ 2012

媒材 │ 定制裝置，影像

長度 │ 7分46秒 ; 3分18秒

藝術家 │ 郭城 Cheng Guo

人對於普通身體的觀點受到社會文化差異、科技與文化變動合力的影響。當下的身體正處於無限多的情境可能與決定之間，這些不斷生髮的智能性或物質性的可能在持續的被普及化與媒體化。 “嘴工廠”即始於人體增強這個議題，其由一系列以嘴部行為驅動的機械和視頻​​組成。藉由對嘴部已有行為能力的探索和擴展延伸，創造出一種結合生產者與生產工具的賽博格（Cyborg），塑造出存在於虛設情境之下的生產製造行為，進而探索人與機械間的界限與交互關係和新的生產方式，並展現出人體獨特的生產和行為美學。

💀 Work 4

Mouth Factory

Year of Creation : 2012

Media : Custom Apparatus， video

Length : 7’46”; 3’18”

Artist : Cheng Guo

Mouth Factory consists of a series of functional machines specifically designed to be operated by the mouth. Through extending the capabilities and versatility of the mouth-a wondrous organ, it creates a cyborg that combines the producer and tool of production and ways of manufacture in fiction scenarios. As a comment on human enhancement, Mouth Factory reveals the aesthetics of manufacturing through a series of performative devices and it is trying to explore a new mode of production. By focusing on mouth, these manufacturing apparatus become an embodiment that renders and amplifies the interrelation between the human body and the tools.

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💀 作品介紹 5

陰莖口交改造計畫

年份 │ 2014-2015

媒材 │ 模型、文件、輸出品

長度 │ 單頻錄像(0分53秒)、動態影像(0分57秒)

藝術家 │ 顧廣毅 Kuang-Yi Ku

在牙醫科學的領域中，口腔有三種主要功能：美觀、發音和飲食，然而對男同志族群而言，口腔還具有滿足性慾的功能。顧廣毅透過牙醫科技與組織工程等生物科技，對口腔進行內部與外部的改造，來凸顯口腔的「第四種功能：性」，企圖打破被科學知識所框限住的邊界，同時讓這套知識體系背後隱而未現的意識形態被巧妙地展露出來。顧廣毅更與同志次文化中的不同創作者合作，以此改造計畫為雛形共同創作了男同志情色漫畫、男同志情色小說等流行文化文本，試圖讓此計畫的概念除了藝術展演的形式之外，還能夠有機會與社會大眾產生對話。

💀 Work 5

The Fellatio Modification Project

Year of Creation : 2014-2015

Media : model, document, image,video,dynamic image

Length : video(0’53”), dynamic image(0’57”)

Artist : Kuang-Yi Ku

In the field of dentistry, there are three main functions of the oral cavity, aesthetics, pronunciation, and mastication. However, for the groups of gay men, there’s the forth function: sex. This project enhances the forth function by dental technology and tissue engineering not only breaks the boundary of body knowledge also makes the ideology of dentistry visible. Besides, the artist cooperate with other gay creators to create some gay science fiction novels and comics. These collaborations are trying to communicate with the public via the pop culture text.

💀 相關活動 1

開幕茶會

開幕時間│2015/08/14 (五) 19:00

開幕地點│台北數位藝術中心 @噪咖大廳

台北市士林區福華路180號；近捷運淡水線芝山捷運站二號出口

💀 相關活動 2

藝術家座談

座談時間│2015/08/21(五) 19:00

與談人│

吳岱融 〈國立臺北藝術大學、藝術與人文教育研究所專任助理教授〉
徐文瑞 〈獨立策展人〉

💀 相關活動 3

導覽活動時間│2015/09/26 (六) 14:00

講者│策展人─ 孫以臻