除了八成藝術家被邀請參展,另外也動員徵件而獲得更多探討同性戀議題的作品,更可映照出生物性別(sex)與社會性別(gender)特質的屬性,展現:異性的、同性的、雙性的、易性的文本。期望由不同階級、年齡、性傾向和各自的生命經驗來詮釋性別議題。這不只是性別平權的爭取,更是創作媒介和觀念的擴大,與他者對話的集體自我實現。
攝影再現真實?
袁廣鳴<逝去中的風景–九月>,以掃描機製造的影像,模糊傳統攝影定義和文本實體,也瓦解了鏡頭獵取真實的貫性思考。宇中怡<畢竟..食物只是開場白Ⅱ>,動態影像經由壓縮轉化的靜態呈現,彷彿連拍後的行為記錄。何采柔<宴會>,從特定房間截取的畫面展示出女孩被塗抹、吞噬,以另類面具展示,女人味的假裝轉化男人的焦慮並滿足其快感。
權力科技呈現對女體的快感
男性攝影家非自覺的凝視,含有挑逗的角度被建構為奇觀,例如:王志偉<Miss 96>;慾望與戀物癖是雙胞胎,身體本身似乎具有能動性,黃文勇<女體中的費洛蒙>正是男性慾望投射的容器;都可讓大家思考男性看待女性的角度,並有助於理解創作者的心靈表述。有趣的是許任媛徵求男性拍攝百鳥圖,可以輕鬆的被看待為做藝術嗎?
母體另類解讀
傅柯(Michel Foucault):「只有當人身既具有生產性又具有依附性時,它才能變成一種有用的力量。」黃國彥<「人之初」系列>,彰顯了生育是女性的天職,沒有臉的孕婦也意味著母親在為人人創造場域時自己卻消失了。母職也有可能成就一種奇蹟式的消除法,去填滿原本的裂縫與匱乏。高媛深受聖母聖嬰圖所啟示的十二個月亮,我特別挑了“12 Moons-Horse”,母女(非母子)的關係來呈現母職,裸露的女嬰如同懷孕可以超脫身體被性慾物化的凝視,同時思考母親-女兒彼此間的關係。
頌揚身體宣告存在
我們看到另類性慾特質,許倍得<人造天堂>,用歡愉嘲弄定律;陳克華<公仔共和國之請你進入我>,諷仿性操演塑造了慾望的實踐;曾怡馨<嗨,古德曼 小姐>藉由美麗被宰制的反諷,建立自我的身分;而劉寅生<無頭自拍像>的變裝癖卻是前衛、富有浪漫氣質的展現。
公認的標準會隨時空轉變,百家照性別的展覽與研討會-關注獨特並探索多樣性,人人以各自立場發言/詮釋,既要解構也要重構,這是新年新希望。
文:萬一一 YiYi Wan
A Microcosm of
the Disturbing Factors in 100 Gender Photographs
Not only women are supposed to be drawn to
the gender issue, we should also inquire about men’s points of view, and invite
both men and women in a non-mainstream space to construct a new claim of gender
relationship and visualization of gender differences. To deliberate the
thoroughly internalized dichotomous feminine and masculine symbols, to unmask
the general gender presumptions, and to shape the values of respecting
multi-dimensional changing are more subversive than to reproach gender
inequality.
80% of the artists are invited to
participate the exhibition, the open call pieces including homosexual issue
that reflect more over the attributes of biological sex and social gender. They
show the heterosexual, homosexual, bisexual, and transsexual text. They are
expected to interpret gender issue from different views based on class, age,
sexual preference, and individual life experience. In addition to fight for
gender equality, this is also the expansion of creation media and concept, as
well as collective self-realization of dialogue with others.
Photography Represents
Reality?
“Disappearing
Landscape—September” by Guan-Ming Yuan—The image is produced by a scanner, blurring
the definition and text entity of traditional photography. It also disintegrates
the customary way of using lens to capture reality. “After all…Food is just the Prolog II” by Chung-Yi Yu—The video
image is compressed and transformed into static presence, and displayed as a performance
record after continuous high speed. “The
Banquet” by Tsai-Zo He—With an offbeat mask, the cut-out picture from a
specific room showcases a daubed, engulfed girl. The male anxiety is converted
in disguise into feminine quality to meet his pleasure.
Power Technology
Presents Pleasant Sensation Towards Female Bodies
The unconscious gaze of the male
photographer, the seductive angle is constructed to be a wonder. Take “Miss 96” by Ji-Wei Wang for example,
lust and fetish are twins, the body itself seems mobile; “Femal Pheromone” by Wen-Yon Huang is a projective vessel for male
desire; these make us to ponder on the way men look at women. They further help
understand what the creator tries to express their mind. Most amusingly, Ashely
Hsu’s request to men for shooting a hundred birds (penis)—can that be
considered a form of art?
Alternative
Interpretation of Maternal Bodies
Michel Foucault said that a body becomes
powerful only when it has productivity and subordinateness. “Men at
Their Birth” series by Guo-Yian Huang—manifest the female calling of giving
birth, the effaced pregnant woman implicates mother’s selfless existence in the
field of reproduction. Maternal duties may achieve a form of miraculous
elimination and fill out the crevice and deficiency. The revelation of the 12
moons in the picture of “Holy Mother and the Holy Child” inspires Yuan Kao
profoundly. Instead of mother and son, I choose “12 Moons-Horse,” mother and daughter relationship to reveal
maternal duties. The bare baby girl seems that an expectant mother may
transcend her body from the physically libidinous gaze, and at the same time,
to think about the mother-daughter relationship.
Body
Glorification Proclaims Existence
We see the characteristic of alternative
sexual desire. “Artificial Heaven” by
Pei-De Hue—applies law of ridicule. “Figurine
Republic, Please Enter Me” by Ke-Hua Chen—ironically mocks sex practice
carrying out the molding of sexual desire; “Hi,
Miss Goodman” by Yi-Shin Tzen—establishes identification through the sarcasm
of ruled beauty; “Headless Self-Portrait”
by Yin-Shen Liu—presents the avant-garde and romantic transvestite.
Criteria change in time and space. 100
Gender Photographs Exhibition and conference show concern on uniqueness and
explore diversity. People are free to speak their mind and have their
interpretation. To deconstruct and reconstruct is our New Year’s resolution.
Curator: YiYi Wan Translated by Sylvia Chang