▋展覽論述

《技術的酷兒論Ｉ：Q.O.O》邀請七位藝術家，展開多重現代性下台灣在現代關係技術與情感感知結構的邊界與考察。

技術的酷兒論是以許煜宇宙技術論的思想取徑，反思作為邊緣者與差異者生存的技術以及宇宙觀生成的可能，計劃將持續以策展、藝術等方式進行另翼的知識生產，支持受賤斥者、酷異者自我賦能與進行創造性生產，簡言之，此計畫行動的目標與問題意識在於「酷異者的幸福如何可能？以及使其可能」。

現代化與全球化的社會制度、政治經濟、文化生產等彼此交疊的技術之間形成了一種感知常模，結構出普世對於愛的星象詮釋，然而酷異性在典範中必然遭逢失敗，而面對失敗必然需要尋求一種求生技術，以及屬於自我的星系，以此組構一種超越性的信念。

於是《酷兒技術論Ｉ：Q.O.O》即是從台灣在東亞情感結構與歷史的不連續性問題立基，期盼衍射島嶼內的情感與愛慾關係，去縫補與解除愛的殖民與自我斷裂，並彰顯島嶼本身雜多與織度複雜的關係模式，此外，也希望藉由展覽計畫探索當代藝術創作與性別理論之間的關係，並鼓勵藝術家思考在肉體或是慾望敘事外，感知到愛欲結構的邊界以及其背後角力的諸般問題。

＃Ｑ是量子 ＃Ｑ是酷兒 ＃Ｑ是反作用力 ＃Ｑ是無盡的提問


"Technique Queer Theory I: Q.O.O" invites seven artists to explore the boundaries and examinations of Taiwan＆#039;s modern relational technologies and emotional perception structures under multiple modernities.

Technique Queer Theory draws on Hsu Yu＆#039;s cosmic technology theory to reflect on the survival techniques and cosmological possibilities for those living on the margins and the different, planning to continue alternative knowledge production through curation, art, and other means. It supports the self-empowerment and creative production of the despised and queer, aiming to address the happiness of queer individuals and how it can be made possible.

The interweaving technologies of modernization and globalization in social systems, political economy, and cultural production form a perceptual norm, structuring a universal interpretation of love. However, queerness inevitably faces failure within this paradigm, necessitating a survival technique and a personal cosmos to construct a transcendent belief.

Thus, "Technique Queer Theory I: Q.O.O" is based on the discontinuity issues of emotional structures and history in Taiwan within East Asia, hoping to diffract the island＆#039;s emotions and desires for love, to mend and decolonize love and self-fragmentation, and to highlight the island＆#039;s diverse and complex relational patterns. Furthermore, the exhibition project aims to explore the relationship between contemporary art creation and gender theory, encouraging artists to think beyond narratives of the body or desire, to perceive the boundaries of the structure of love and desire, and the various issues behind these struggles.

#Q is for Quantum #Q is for Queer #Q is for Rebounce #Q is for Endless Inquiry

▋展覽資訊

展名：技術的酷兒論Ｉ：Q.O.O
主辦單位：國立臺北藝術大學 關渡美術館
贊助單位：財團法人國家文化藝術基金會
展覽時間：2024/03/15-6/09
展覽地點：關渡美術館（112台北市北投區學園路1號）
展覽區：關渡美術館4樓與501展間
策展團隊：Nn̄g Project（張文豪、謝盛翔）
參展藝術家：江之翠劇場 X 陳煜典、阮原閩、花季琳、陳飛豪、張紋瑄 Ｘ廖海廷、黃至正、楊登麟
技術佈展：呂妙盈、魯智楷
燈光設計：絕對光度
展場設計：陳佑軒
展覽執行助理：周永航
主視覺與標準字設計：林翰祥

▋關於Nn̄g Project

一群游移於邊緣並以女性主義精神，聚合的分子們繞射與孵化而出

「Nn̄g」是「蛋」的台語發音，指向藝術作品在策展實踐中形成的「有機生命」狀態。「Nn̄g Project」是一個2023年成立的藝術策展團隊，核心成員包含：黃銘樂、劉沁、謝盛翔、張文豪，我們關注特殊、少數、邊緣、可能受到忽視的議題，如LGBTQ、女性主義、神經多樣性、後殖民情境、亞際和亞洲、全球視野下的多重現代性等等。我們的研究領域涵蓋哲學、歷史學、資訊科學、劇場藝術、藝術史和文化研究，試圖在不同學科的對話過程中，拓開新的感知與思辨空間。

Nn̄g Project is a collective formed by individuals who navigate the periphery and unite under a feminist ethos, presenting unique artistic expressions through diffraction and incubation.
"Nn̄g" is the phonetic rendition of "卵" in Taiwanese, signifying the concept of "Egg," emblematic of the "Organic" status achieved by art within curatorial frameworks. Nn̄g Project was established in 2023, with core-member Chang Wen-Hao Danson Wong Hsieh Sheng-Hsiang Liu Chin , focusing on minority, marginalized, and possibly overlooked issues, for instance, LGBTQ, feminism, neurodiversity, postcolonial situations, inter-Asian in a global perspective. The research fields of
the department cover philosophy, history, information science, theater art, art history
and cultural studies, trying to open up new spaces of perception and speculation in
the communication process of different disciplines.