瘟疫的慢性處方

About 展覽介紹

INTRODUCTION

一九〇八年某日，非洲喀麥隆東南部地區的叢林裡有位獵人，或許是為了向部落證明自己，亦或是為了養家糊口，他參照著後世推估最可能的劇本，在獵捕的過程中因黑猩猩的反抗而受傷。那道傷深及肌膜，但獵人並沒有進行處理，血液傳染疾病的概念在二十世紀初並不存在，而他在宰殺獵物時也絲毫不介意自己的傷口混入了黑猩猩血液。就這樣隨著時間的推進，猴免疫缺陷病毒（Simian Immunodeficiency Virus, SIV）在新宿主內適應、進化、走向興旺昌盛。SIV滲透各種人類接觸網路、依循際遇入侵人類社群，它不再是一種黑猩猩病毒，而是以人類免疫缺乏病毒（Human Immunodeficiency Virus, HIV）的新樣貌在八〇年代向世人揭示自己的存在，以及後工業社會自稱對少數與弱勢寬容同情的虛假，道德譴責者將其視為上天派遣的瘟疫，專屬於個人或群體的報應。二十一世紀，遵循民主式公共衛生的教育策略，公民採取自我保護措施、避免落入父權及專制，將乳膠避孕套做為掩護，以實現自由與理想。疾病持有者懼怕「多疑的社會」迫使自己身份暴露，而有了超出生理的心理病痛，健康彷彿成了德性的證明，疾病被視作為墮落的證據，既使再多研究及當權者公開論述「疾病只是疾病，而不屬於任一群體」，相關的隱喻及污名卻從未停止，人類免疫缺乏病毒（Human Immunodeficiency Virus, HIV）感染者遵照醫囑所持續服用的抗病毒處方藥，在維繫生命的同時也作為其與污名共生的提醒，時刻觸發而孤立。醫學史學家羅伊・波特（Roy Porter）曾宣告「發生性行為不必負責任的日子結束了」，在所有公民皆視自身為單一血清個體的如今，無論感染與否，所有人似乎都對這場有感的「瘟疫」產出了一套與之共處的「慢性處方」。本展覽由台北當代藝術館與社團法人臺灣感染誌協會共同主辦，由《宿主計畫(Humans as Hosts)》計畫主持人劉仁凱進行策劃，並與台灣數個HIV（愛滋）倡議機構與團隊共同合作，邀請國內外藝術家、研究者於該議題中進行探索及揭露。以MoCA Cube、廣場、電視牆及大廳為實驗場域，以多元展演活動解析展題，企圖以藝術跨越疾病，與參與民眾協同建立雙向交流平台；展覽閉幕將於世界愛滋日（十二月一日）發生，在對話、致敬與歡慶中落幕。 One day in 1908, there was a hunter in the jungle of south-east Cameroon, Africa. Following a script that later generations may only imagine, his hunt was the way he proved himself to the tribe and provided for his family. During the hunt, he was hurt by a resistant chimpanzee. Although the wound broke deep to the sarcolemma, the hunter didn’t deal with it. At the beginning of the 20th century, the concept of blood-borne disease didn’t exist. The hunter had no cause for worry at all that the chimpanzee’s blood could likely sneak into his wound. As time went by, SIV (simian immunodeficiency virus) thrived as it adapted and evolved within the new host. Following its natural course, the virus penetrated various kinds of interpersonal contact networks and invaded the community. It was no longer a chimpanzee’s SIV. During the 1980s once this novel virus emerged as HIV (human immunodeficiency virus), it exposed the hypocrisy of postindustrial society’s purported claim to have compassion for minority and underprivileged groups. Moral condemners regarded the emerging epidemic like the plague sent by god—the punishment designed for individuals or groups who disobeyed their moral responsibilities. In the 21st century, contemporary public health education campaigns follow the democratic model. The latex condom has become a cover-up for self-protection against patriarchy and autocracy to fulfill freedom and ideals. Disease carriers in a “society of suspicion” fear that their identities will be disclosed by force and suffer more psychologically than physically, because healthiness is perceived somehow as the proof of morality, while disease as the proof of corruption. No matter how many studies and those in power publicly state that “a disease is just a disease and does not belong to any group,” the related metaphor and stigma never end. To maintain life, people infected with HIV follow the doctor’s advice and take their prescription continuously. While sustaining life, it triggers a daily reminder they must coexist with the stain of a virus the world still regards as a kind of moral failure, thus causes isolation. As the medical historian Roy Porter once announced: “The days of sex without responsibility were over.” Infected or not, since each citizen treats themselves as one serological monad, it seems that everyone comes up with their own “prescription” in coexistence with this perceptible plague. The exhibition is presented by the Museum of Contemporary Art Taipei and Taiwan HivStory Association. It is curated by Kairon Liu, the artist-curator of Humans of Hosts. He cooperates with several HIV initiatives and teams, and invites artists and researchers at home and abroad to explore and disclose the issue. Taking the MoCA Cube, plaza, TV wall and activity hall as the experimental fields, the exhibition attempts to step across the disease with art and establish a two-way communication platform with the participants. The exhibition closing will be held on World AIDS Day (1st of December), ending in dialogue, tribute and celebration.

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Artists 參展藝術家

Brad Walrond 布拉德．沃爾隆德

Chen Ching-Yuan 陳敬元

Chien Li-Ying 簡莉穎

Chuang Chih-Wei 莊志維

Elena Redaelli 伊蓮娜．拉德利

Taiwan HivStory Association 臺灣感染誌協會

Jessica Whitbread 潔西卡．惠特布德

J Triangular 畢七月

Kairon Liu 劉仁凱

Lee Tzu-Tung 李紫彤

Luo Jr-shin 羅智信

Macaca Sapiens 林季鋼

Marguerite Van Cook 瑪格麗特．范．庫克

Taiwan Lourdes Association 社團法人台灣露德協會

Sean Cheng 鄭任翔

Shu Lea Cheang 鄭淑麗

Zhan Jie 詹傑

身兼詩人、作家、複合媒材表演藝術家和社運人士，在1990年代紐約布魯克林的黑人藝術運動中站在最前線執筆發聲，作品主要探索種族、慾望、身分認同、信仰實踐和科學的複雜關係，關注人類意識的發展。

布拉德的詩歌曾經刊於《紐約時報》、《African Voices》、《Moko Magazine》和《Eleven Eleven》。他在紐約市立學院和哥倫比亞大學分別取得政治科學學士和碩士學位，首部散文詩歌集《Everywhere Alien》將由 Moore Black Press 出版。

Poet, author, mixed-media performance artist, and activist Brad Walrond is one of the foremost writers of the 1990s Black Arts Movement centered in Brooklyn, New York City. Brad’s work focuses on development of human consciousness by exploring the prisms of race, desire, identity, sacred practice, and science.

Brad’s poetry is published in the New York Times, African Voices, Moko Magazine, and Eleven Eleven. Brad received his BA in Political Science from the City College of New York; MA in Political Science from Columbia University. His first collection of prose and poems Everywhere Alien will be published on Moore Black Press.

1984生於臺灣臺南。
畢業於臺北藝術大學美術創作研究所。現居住及創作於臺北。

陳敬元近年的作品多藉由繪畫捕捉存在於不同文化的文學、歷史神話中微妙的共同感性，並藉個人獨特的組織方法，貫穿互融為一幅幅看似破碎、不存在線性敘事卻又緊密對應到人文本質的圖像。

Born in Tainan, Taiwan, 1984.
Currently lives and works in Taipei, Taiwan.

Chen Ching-Yuan received his M.F.A. in 2013 from the School of Fine Arts of the Taipei National University of the Arts. In recent years, Chen Ching-Yuan attempts to capture through his painting the subtle sensibility that weaves through literature, mythology, and history in different cultural contexts. The artist's unique compositions coalesce into a constellation of images where the absence of the temporal element and the fragmentation of meaning elicit unexpected narrative parallels between the artist's imaginary worlds and the essence of humanity.

東華大學原住民語言與傳播系、文化大學戲劇系、臺北藝術大學劇本創作研究所。

2011年4 月號《PAR 表演藝術》雜誌選為「十位表演藝術新勢力」之一。
《PAR 表演藝術》雜誌選為2012 戲劇類年度風雲人物。
2015年台北兩廳院「藝術基地計畫」駐館藝術家。
2018年香港中文大學（深圳）駐校藝術家、政治大學駐校藝術家。

Chien Li-Ying is a Taiwanese playwright and director. She was born in Yuanlin, Changhua in 1984. Li-Ying received her BA degree in Theatre Arts from Chinese Culture University and majored in MFA Playwriting at Taipei National University of the Arts.

Chien Li-Ying was selected as one of the Top 10 Promising Theatre Artists by Performing Arts Review magazine in 2011, she was also awarded Outstanding Theatre Artist by the same magazine in 2012. In 2015, Li-Ying was the Resident Artist of National Theater & Concert Hall.

1986年生於臺灣臺中，有著藝術與建築的混合背景，擅長運用光和空間創造現地與互動裝置，探討人與環境之間的相互關係，至今於創作歷程中仍不斷追尋跨領域間的揉合，呈現理性與感性並存的藝術美學。

Born in Taichung in 1986, Chuang Chih-Wei has a mixed background of art and architecture. He is expert at creating sites and interactive devices by using light and space to explore the relationship between people and the environment. He keeps pursuing cross-domain blending in his creation process to present artistic aesthetic with both rationality and sensibility.

伊蓮娜．拉德利為研究者和自由創作者，經常在創作中探索物質、轉變、生成和衰變的過程，包含不同程度的掌控權及挑戰自主和主動介入的界線。她有時依著媒材創作，有時讓創作主體或環境主導，使得轉變、即興創作和交流成為一個持續不斷的過程。藝術創作是在新的環境不斷提問的過程，也是她接近新文化與認識別人的方法。

Elena Redaelli is a researcher and a nomadic creator. In her projects she explores matter, transformation, processes of generation and decay involving different levels of control and challenging the boundaries of authorship and active intervention. Sometimes the material takes the lead, other times the participants or the environment itself, resulting in a constant process of transformation, improvisation and exchange. The act of art making is an interrogative process within a new environment and her personal way to get closer to new cultures and people.

由臺灣愛滋感染者組成，長期收集臺灣社會關於愛滋的文字，並嘗試透過製作相關作品，與社會建立不同的疾病溝通模式。認為愛滋不僅是公共衛生議題，更關乎法律、政治與人權。

Taiwan HivStory Association is organized by people infected with HIV. They have collected articles about AIDS in Taiwan and attempted to build a new way of communication with the society by creating different works. They believe that AIDS is not only a public health issue, but also an issue related to law, politics, and human rights.

潔西卡．惠特布德 (1980) 為藝術家和社運人士，現居於加拿大和吉爾吉斯。她的工作跨足社會實踐和社區藝術，結合藝術和社會運動，與背景多元的民眾進行思辨與對話。她的長期計畫眾多，包括《LOVE POSITIVE WOMEN》(2012) 、《Tea Time》(2012) 、《No Pants No Problem》(2004)；她也是「PosterVirus」(2011) 共同策展人。她的作品觸及40 多國，展於加拿大、美國、澳洲、挪威和荷蘭。2014 年，她更出版攝影集《Tea Time: Mapping Informal Networks of Women Living with HIV》，記錄自己的社區藝術實踐。

Jessica Whitbread (1980) is an artist and activist based in Canada/Kyrgyzstan. She works in the realm of social practice and community art, merging art and activism to engage a diversity of audiences in critical dialogue. Her ongoing projects include LOVE POSITIVE WOMEN (2012), Tea Time (2012), No Pants No Problem (2004) and is a cocurator of PosterVirus (2011); her work has been activated in over 40 different countries and shown in Canada, US, Australia, Norway and The Netherlands. In 2014, Jessica published Tea Time: Mapping Informal Networks of Women Living with HIV a photo collection of her community arts practice.

畢七月是一名獨立策展人、酷兒詩人、實驗電影創作者/自製錄像藝術家和膠捲攝影師，作品大多談論反抗、性別動力和記憶圖景。她的作品常以詩歌的形式描繪歷史尚未解決的社會暴力，以及探討在恐懼被編造，與歧視被制度化且合法化的文化下身分認同如何遭到撕裂。她的作品持續探索的議題包括反文化和音樂、酷兒族群的身分認同和自我賦能、激烈的酷兒記憶和反抗、社會轉變、利用無障礙科技實踐藝術和集體行為、攝影機行動主義，以及促進溝通和團結。

J Triangular is an independent curator, queer poet, experimental filmmaker/DIY video artist, and analog photographer, making art projects that speak about resistance, gender dynamics and memory landscapes. Her work often consists of poetic portraits of the unresolved social violences of history, and the rupture of identity in a culture of manufactured fear and legally institutionalized discrimination. Her work consistently addresses themes including counterculture and music, queer community identity and self-empowerment, radical forms of queer memory and resistance, social transformation, art and collective action with the use of accessible technologies, camcorder activism, promoting communication and links of solidarity.

視覺藝術家與獨立策展人，創作與研究反映其在日常所觀察到的信仰狀態，他學習特定物件之於研究主題/對象的意義及符碼，以將其轉為作品裡的視覺符號敘事，帶出宗教信仰、傳染疾病、集體價值觀等人類社會議題之討論。在他所執行的計畫中，他慣於採取催化者的角度創作，並透過深度訪談及協同創作方式與研究對象建立連結。

Kairon Liu is a visual artist and an independent curator. His creation and research reflect the belief observed in daily life. He studies the meaning and symbol of particular objects to topic of research and turns it into visual symbols in his work, which brings out discussion of social issues such as, religious beliefs, contagious diseases, and collective values. He is accustomed to conducting projects from the perspective of a facilitator. He establishes links by in-depth interviews and collaborative creation methods.

臺灣的藝術家、導演，關注性別、政治、原住民、白色恐怖、國族認同等議題。曾獲國藝會實驗電影獎助、芝加哥藝術學院新藝術家獎學金等獎項，多以新媒體進行參與式創作（Participatory Art）。

Lee Tzu-Tung is a Taiwanese artist and director; her works concern gender, politics, indigenous people, White Terror, and national identification issues. She won awards such as Experimental Film Funds from NCAF and New Society Artists Scholarship from SAIC. She often uses new media to create her participatory art project.

1984出生於臺灣苗栗，畢業於臺北藝術大學美術創作碩士班，目前工作與生活於臺北。他的藝術實踐多數是通過對於各種媒材廣泛的實驗所完成的。從傳統的材料到非典型的材料；從陶土、樹脂、數位印刷、日常物件到食物、化學藥劑與甚至無形的氣味分子。這些物質形式是他對於物質世界（表象世界）的探索途徑與載體，像是通過實驗去應證假設，然而這實驗的終極目的，卻是指向這些物質所承載的人類活動與精神世界。

Luo Jr-shin (born 1984, Taiwan) graduated from Taipei National University of Arts in 2010. His practice revolves around the experimentation of a variety of traditional and unconventional materials. Ranging from clay, resin, digital printing, everyday objects, to food, chemicals, and scent, this host of substances are vehicles through which Luo investigates the underlying spirituality and human condition in our representational world.

摯愛是背光的我盛陽行。

The beloved is I walk towards the glorious sun against the light.

英國人，生於 1954 年，以跨領域藝術實踐聞名，使用的媒材豐富多元，包括電影（錄像）、裝置、戲劇、詩歌、舞蹈、漫畫和音樂。范．庫克跟隨她的龐克樂團「The Innocents」和「The Clash」樂團巡演，後搬至紐約定居，並在東村開設具有重要地位的「Ground Zero」藝廊（1983-2001）。她後來與詹姆斯．羅貝格 (James Romberger) 合作，為已故 AIDS 社運人士大衛．瓦納羅維奇（David Wojnarowicz）撰寫圖文回憶錄《7 Miles a Second》，2007 年，她擔任「Howl! 藝術節」的執行總監，積極為藝術家提供免費醫療保健服務「HOWL! HELP」。她致力推動各地 GLBTQI 族群和 HIV/AIDS 感染者的權益。

范．庫克擁有哥倫比亞大學現代歐洲研究學士和碩士學位，並在紐約市立大學研究生中心取得法文副博士學位。范．庫克目前擔任紐約市立大學亨特學院客座教授。

Marguerite Van Cook (British, b.1954) is known for her multidisciplinary practice, which uses a wide variety of mediums that includes film (video), installation, theater, poetry, dance, comics and music. Van Cook moved to New York after her punk band The Innocents toured with The Clash (1978) and opened the seminal East Village gallery Ground Zero (1983-2001). She later collaborated with James Romberger on the art for“7 Miles a Second,” the late AIDS activist David Wojnarowicz’s graphic memoir. In 2007, she became Executive Director of the Howl! Festival and worked to establish HOWL! HELP, a free health service for artists. She is an advocate for the GLBTQI community and people living with HIV/AIDS everywhere.

Van Cook holds a B.A. and M.A. in Modern European Studies from Columbia University and a M.Phil. in French from the Graduate Center, CUNY. Van Cook is an adjunct professor at Hunter College, CUNY.

台灣露德協會二十年來關懷、服務受愛滋病毒影響的個人與家庭，無論其背景、性傾向、性別或族群為何，以專業的社工輔導、適切的支持與培力互助服務、分享實用新知，致力提昇服務對象之生活品質、人性、尊嚴與價值，激發生命熱情與實踐夢想的力量。露德堅持上述信念與價值，並由此開展服務的五大行動方針：「擁抱不同」、「同理關懷」、「協同培力」、「追求正義」、「不畏挑戰」。

Taiwan Lourdes Association has been caring and serving individuals and families affected by HIV for 20 years. Regardless of their background, sex orientation, gender, or ethnic group, the association is committed to enhance their life quality, humanity, dignity, and value by consultations with professional social workers, proper supports, and mutual assistance services. It is dedicated to inspire passion of life and power to put dreams into actions. The association adheres to the beliefs and values mentioned above and developed five service guiding principles, including embracing difference, caring with sympathy, gaining empowerment, pursuing justice, fearless to challenges.

畢業於交通大學資訊工程研究所，選修多門應用藝術研究所課程後，對新媒體藝術產生興趣，擅長使用新媒材搭配程式控制創造新的體驗，於本展覽中與社團法人台灣露德協會進行協同創作。

Sean Cheng graduated from Institute of Computer Science and Engineering of National Chiao Tung University. After taking classes in the Institute of Applied Art, he became interested in new media art and is expert at utilizing new media with programming to create new experience. For this exhibition, he collaborates with Taiwan Lourdes Association and creates a new body of work.

旅法的台裔美籍多媒體藝術家，為當代十分具有影響性的重量級藝術先鋒。創作橫跨各類型，媒材多元，以錄像、裝置藝術、網路空間、電影、表演藝術為實驗媒介，更以前衛大膽科幻聞名，作品曾在古根漢博物館、紐約當代藝術館、威尼斯雙年展、倫敦泰特現代藝術館、柏林影展等具指標性場域放映及展出，其網路作品更成為網路藝術中首批進入博物館永久收藏的作品之一。作品核心思維觸及族裔刻板印象、性/身體政治、流行媒介的本質及溢出、建制化的權力、數位資訊時代科技對人類生活意識影響的思考。

As an artist and filmmaker, Shu Lea Cheang has worked with various art mediums and film formats, including installation, performance, net art, public art, video installation, feature length film and mobile web serial. As a net art pioneer, her Brandon (1998-1999) was the first web art commissioned and collected by the Guggenheim Museum in New York. She has been crafting her own film genre of new queer cinema, calling them ecocybenoia (Fresh Kill, 1994), scifi cyberpunk (I.K U, 2000), scifi cyphepunk (FluidØ, 2017).

影視暨舞台劇編劇，2018年獲亞洲文化協會 ACC 贊助，前往紐約進行藝術家駐村交流，並出版有劇作電子書《逆旅—一個關於謝雪紅的單人旅行》、《愛滋味》。劇場作品有：《逆旅》、《寄居》、《愛滋味》、《像我這樣的查某人》、《拼裝家族》、《白色說書人》、《微塵．望鄉》等，影像作品有：《刺蝟男孩》、《長不大的爸爸》、《降生十二星座》、植劇場《積木之家》、植劇場《天黑請閉眼》、植劇場《花甲男孩轉大人》、NETFLIX 首支華語原創影集《罪夢者》、電影《花甲大人轉男孩》。

Screenwriter and playwright based in Taiwan. Supported by Asian Cultural Council’s 2018 fellowship program, he participated in the New York artist-in-residence program for cultural exchange and artistic experimentation. He published two e-books, Self Re-Quests and Touching My Mind. His theater works include Self Re-Quest, Homeless, Women in the Rain, Touching My Mind, Borrowed Family, White Storyteller, and Homecoming. He has several TV shows produced, including Boys can Fly, Spring Beauty, Baby Daddy, House of Toy Bricks, Close Your Eyes before It’s Dark, A Boy Named Flora A, and Bardo, the first Netflix’s Asia original show. He also has written a feature, Back to the Good Times. Boys can Fly won 49th Golden Bell Awards for the best screenplay.

Collaborative Artists 協同創作藝術家

Allyson Mitchell 艾利森 • 蜜雪兒

Katharina Eckert 爾德鴻

Morgan M Page 摩根 • M • 佩姬

艾利森．蜜雪兒為極繁主義藝術家，專精於雕塑、表演、裝置和影像藝術。她的長期美學/政治計畫《Deep Lez》提倡巧妙地回顧女同性戀女性主義的歷史，因為這是一個創造無限潛能的激進酷兒世界。她的作品展於世界各地，包括加拿大紡織博物館、安大略美術館、安迪沃荷美術館、泰特美術館和英國電影協會。現居於多倫多，在紐約大學性別學院女性與性別研究所擔任副教授，並與德爾雷．洛格 (Deirdre Logue) 共同經營女性主義藝廊FAG。

Allyson Mitchell is a maximalist artist working in sculpture, performance, installation, andfilm. Her ongoing aesthetic/political project, Deep Lez advocates a strategic return to the histories of lesbian feminism for it’s radical queer world making potential. Her work has exhibited in numerous venues including the Textile Museum of Canada, the Art Gallery of Ontario, the Warhol Museum, Tate Modern and the British Film Institute. She is based in Toronto, where she is an Associate Professor in the School of Gender, Sexuality and Women’s Studies at York University and runs FAG, a feminist art gallery with Deirdre Logue.

爾德鴻（1989年生於德國杜塞道夫）。她於2015 年畢業於法蘭克福歌德大學視覺藝術暨藝術教育學系，並於2017 年獲得國立台灣藝術大學版畫類獎助學金，並自2019 年起在德國和台灣生活及創作。

Katharina Eckert, (Düsseldorf, 1989). In 2015 she graduated from M.A Goethe University in Frankfurt with a major in graphic arts and art education. In 2017 she was awarded a scholarship at the National Taiwan University of arts, printmaking department. Since 2019 she lives and works in Germany and Taiwan.

摩根．M．佩姬為加拿大跨性別藝術家和作家，現居於英國。她的作品多聚焦於跨性別政治、性工作和 HIV，美國布魯克林博物館、美國新當代美術館資源中心，以及南韓 NeMaf 等藝術節均曾展出她的作品。她也為即將上映的長片《Framing Agnes》共同編劇，並且主持跨性別史網路廣播節目「One From the Vaults」。

Morgan M Page is a trans artist and writer from Canada, currently based in the UK. Her work - which focuses on trans politics, sex work, and HIV - has been shown in the Brooklyn Museum (USA), the New Museum Resource Centre (USA), and at festivals including NeMaf (South Korea). She is the co-writer of the upcoming feature film Framing Agnes and hosts the trans history podcast One From the Vaults.