Shu Lea Cheang, With Paula Gardner and Stephen Surlin
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引用次数: 0
摘要
代表台湾参加2019年威尼斯双年展的张淑蕾作品《3x3x6》的标题,源自一座面积9平方米、装有6个监控摄像头的21世纪高安全级别牢房。作为一个沉浸式装置,3x3x6由多个界面组成,通过限制和控制技术来反思性主体性的建构,从物理监禁到当代社会无处不在的监控系统,从杰里米·边沁(Jeremy Bentham)在1791年构想的圆形监狱到中国拥有2亿个监控摄像头的锐利眼睛,拥有14亿人口的面部识别能力。3x3x6通过策略和技术干预,调查了10起跨越时间和空间的罪犯因性挑衅和性别肯定而被监禁的刑事案件。这次展览构建了对性的集体反叙述,其中跨性别朋克小说、酷儿和反殖民的想象破坏了性从属历史的操作系统。这个图像和文本作品穿插了展览中的图像和策展人Paul B. Preciado(灰色背景)撰写的文本,以及特别部分的联合编辑Paula Gardner和艺术家之间的采访,将这次非凡的展览带入了与女权主义技术科学奖学金的进一步对话。该项目的网站是https://3x3x6-v2.webflow.io/。
The title of Shu Lea Cheang’s 3x3x6 which represented Taiwan at Venice Biennale 2019 derives from the 21st century high-security prison cell measured in 9 square meter and equipped with 6 surveillance cameras. As an immersive installation, 3x3x6 is comprised of multiple interfaces to reflect on the construction of sexual subjectivity by technologies of confinement and control, from physical incarceration to the omnipresent surveillance systems of contemporary society, from Jeremy Bentham’s panopticon conceptualized in 1791 to China’s Sharp Eyes that boasts 200 million surveillance cameras with facial recognition capacity for its 1.4 billion population. By employing strategic and technical interventions, 3x3x6 investigates 10 criminal cases in which the prisoners across time and space are incarcerated for sexual provocation and gender affirmation. The exhibition constructs collective counter-accounts of sexuality where trans punk fiction, queer, and anti-colonial imaginations hacks the operating system of the history of sexual subjection. This Image and Text piece intersperses images from the exhibition with handout texts written by curator Paul B. Preciado (against a grey background), as well as an interview between special section co-editor Paula Gardner and the artist that brings the extraordinary exhibition into further conversation with feminist technoscience scholarship. The project website is available at https://3x3x6-v2.webflow.io/.