1/20/2012

微觀百家照性別中的擾亂因子

性別議題不能假定只有女人才有興趣,也提醒自己有必要探問男人的看法,而主動邀約男女在一個非主流空間,一起建構性別關係與性別差異視覺化的新主張,思索深刻內化的二元論之陰柔/陽剛符碼,揭露一般的性別預設立場,並且塑造尊重多元流變的價值觀,比起直指性別不公的現象更具顛覆性。

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>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>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>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。

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