11/3 Sun.【美術館裡的生化威脅】Biohazards in the Gallery

Name: 11/3 Sun.【美術館裡的生化威脅】Biohazards in the Gallery
Start: 2024-11-03T14:00:00+08:00
End: 2024-11-03T16:30:00+08:00
Location: 新生南路三段56巷7號2樓、 Taipei, Taiwan 106

Schedule

Sun Nov 03 2024 at 02:00 pm to 04:30 pm

UTC+08:00

Location

新生南路三段56巷7號2樓、 Taipei, Taiwan 106 | Taipei, TP

જ⁀𖤫 𝟭𝟭/𝟯 𝙎𝙪𝙣.【美術館裡的生化威脅】𝐵𝑖𝑜ℎ𝑎𝑧𝑎𝑟𝑑𝑠 𝑖𝑛 𝑡ℎ𝑒 𝐺𝑎𝑙𝑙𝑒𝑟𝑦 ║韓瑞 Ari Heinrich　主講📍女書店

𖡗 貼近平常迴避的物質，挑戰主流的歷史敘事 ➤➤ https://reurl.cc/VMvexy

#生化威脅 #biohazards／#美術館 #Gallery
#黑色素／#血液／#荷爾蒙／#生物材料／#汙染物
#殖民歷史／#藝術／#種族／#歷史敘事／#跨性別

╭┄┄◖ 11/3 (日) 14:00-16:30@女書店◗┄┄╮

　　　　【 #美術館裡的生化威脅】
　　　　 𝐵𝑖𝑜ℎ𝑎𝑧𝑎𝑟𝑑𝑠 𝑖𝑛 𝑡ℎ𝑒 𝐺𝑎𝑙𝑙𝑒𝑟𝑦

ᨒ 主講／Speaker ᨒ
　#韓瑞 Ari Heinrich／澳洲人文學院院士

ᨒ 主持人、口譯者／Moderator and Interpreter ᨒ
　#紀大偉 Chi Ta-wei／政大台文所副教授

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📢免費入場，歡迎好朋友們一起報名參與 .ᐟ.ᐟ

🔔貼心提醒：講座以全英語進行。
The event will be held in english.

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ı|ıı|| 講座簡介 Event Description ı|ııı|

演講者韓瑞用（跟生化威脅物）保持「策略性逼近」這個說法，描述跨性別藝術家范加（Jes Fan）的技藝：范加在展場創造出同時歡迎展場參觀者卻又威脅參觀者的張力，逼迫參觀者貼近他們平常迴避的物質，例如可能有害的生化威脅物。
范加，在加拿大出生，在香港長大，目前住在紐約布魯克林。他在2020年雪梨雙年展所展出的作品，就體現了策略性逼近：這些作品逼迫看展人士貼近黑色素、血液、精液、尿液、荷爾蒙等等生物材料。值得注意的是，這個雙年展場地本身，正好承載了本來不被澳大利亞藝術界承認的殖民歷史。
在一個曾經被殖民的地點，展時具有種族意味的生物材料，正好可以挑戰主流的歷史敘事。一般的藝術展場，總是祭出一種主流歷史敘事：為了捍衛種族純度，為了迴避混血污染，這種敘事強求看展人士千萬不要逼近具有威脅的污染物（就連其他看展人士，也堪稱具有威脅的生化污染物）。這種對於生化威脅的警醒，剛好為COVID疫情的社交隔離提供彩排：早在全球實施社交隔離之前，雪梨雙年展就已經用展覽進行操練了。

As articulated by Heinrich, “strategic proximity” is a technique that creates deliberate tension between welcome and threat in exhibition spaces, forcing viewers into intimacy with substances they might otherwise avoid, including potential biohazards.
Jes Fan is a transgender artist born in Canada, raised in Hong Kong, and currently based in Brooklyn, New York. His exhibit at the 2020 Sydney Biennale, held at a site the colonial past of which often goes unacknowledged in arts communities, exemplified strategic proximity by showcasing biological materials such as melanin, blood, semen, urine, and hormones.
This use of racialized biological materials in a former colonial center challenged historical narratives of racial purity and contamination by effectively [obliging] viewers to become acutely aware of their proximity to potential contaminants…including other visitors themselves. This awareness in turn created a kind of dress rehearsal for social distancing, even before such measures were globally implemented due to the COVID-19 pandemic.

▍關於主講人 About Speaker／韓瑞　Ari Heinrich　

澳大利亞國立大學中國文學與媒體教授，澳大利亞人文學院院士。他的著作包括《圖像的來世：關於「病夫」刻板印象的中西傳譯》（The Afterlife of Images: Translating the Body Between China and the West）（2008年，美國杜克大學出版；欒志超中譯，2020年，北京市：生活·讀書·新知三聯書店）和《Chinese Surplus: Biopolitical Aesthetics and the Medically Commodified Body》（暫譯：《中國剩餘：生命政治美學與醫療商業化的身體》）（20218年，美國杜克大學出版）。

他也是邱妙津小說《蒙馬特遺書》（2014年，紐約書評出版社）和紀大偉小說《膜》（2021年，哥倫比亞大學出版社）的英文翻譯者。他的藝術評論散文「Ejecta」（暫譯：「噴出物」）探討藝術家范加（Jes Fan）的雕塑，發表於安迪華荷基金會藝術寫作創刊號，《Cookie Jar》（暫譯：《曲奇罐》）（2022年）。

Ari Heinrich (FAHA) is Professor of Chinese Literature and Media at the Australian National University and a Fellow of the Australian Academy of the Humanities.Their publications include The Afterlife of Images: Translating the Body Between China and the West (Duke, 2008) and Chinese Surplus: Biopolitical Aesthetics and the Medically Commodified Body (Duke, 2018).

Ari is also known for their translations of queer Taiwanese novels such as Last Words from Montmartre, by Qiu Miaojin (New York Review Books, 2014), and The Membranes, by Chi Ta-wei (Columbia University Press, 2021). Most recently, Ari’s essay “Ejecta”, which explores sculpture by the artist Jes Fan through the lens of colonial geology and grief, appeared in the inaugural issue of the Andy Warhol Arts Writers Grant series “Cookie Jar” (2022).

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✍️在演講之後，可以簽書：《蒙馬特遺書》和《膜》英文版
Talk followed by book signing:
Last Words from Montmartre and The Membranes

📚 講座延伸閱讀 ➤➤
《蒙馬特遺書》｜https://reurl.cc/GpYVYD
Last Words from Montmartre｜https://reurl.cc/nvMzg2
《膜》｜https://reurl.cc/oyDoll
The Membranes: A Novel ｜https://reurl.cc/Nloj7n

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主辦單位｜國立政治大學台灣文學研究所