未定義之間—多元性別的詮釋

Between The Uncharted: Reimagining Gender Diversity

展覽頁面呈現形式

縱式

時間軸

策展者

國立中興大學外文四張育瑄

國立中興大學行銷三黃竹均

國立中興大學文創三董陵蓁

國立中興大學文創三吳芃樺

展覽封面

54975dfaf28b5fcc076ab6fd09fb6b5a

展覽資料

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然而，這場革命並非一蹴而就，而是由無數的藝術家與創作者為這張光譜注入了許多不同的色彩才達成的成果。 儘管我們似乎身處於一個相對開放且自由的時代，然而，社會中仍然充斥著種種由刻板印象構築的凝視，這些特定的凝視視角同時也無形地成為隱形的束縛。 本展希望任何人都有自我展現的機會，同時期望社會能夠帶著愛去接受、包容以及看待各種美好—那些未定義之間。" }, "theme-g6iuw3voxn": { "id": "theme-g6iuw3voxn", "type": "theme", "sortable": true, "primaryObj": { "oid": "172b7e47e4d17b8d280bb5067ce74269", "fileType": "image", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/54975dfaf28b5fcc076ab6fd09fb6b5a.jpg?itok=ycAwaMN6", "level": "primary", "title": "未定義之間", "desc": "", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/54975dfaf28b5fcc076ab6fd09fb6b5a.jpg?itok=VAcNk3Cn", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/54975dfaf28b5fcc076ab6fd09fb6b5a.jpg?itok=kjrpLko2", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/54975dfaf28b5fcc076ab6fd09fb6b5a.jpg?itok=0xjDxKwG", "background": 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"女體一向是男性意淫與窺視的對象，而意淫與窺視的本身即存在男性與女性間在「位置」上的權力關係。 此作以現成物為媒材，在精緻的畫框上敷飾金箔，兩個取自女性內衣的圓形海綿墊，在冶豔的紅色絨布上分外引人注目。 如此這般擬女性身體的華麗造像，實際上在凸顯女性對於身體的自主權，以女性主動開放及毫不掩飾的誘引男性觀看的企圖，挑戰男、女之間凝視／被窺的意識形態與占有／從屬的刻板結構，藉此確立女性的自主地位，顛覆男性藉由凝視女性身體來確認自我的權威、肯定自我主體的形態。 出處：蔡昭儀，《臺灣美術家「刺客列傳」四年級生.1951-1960》，臺中：國立臺灣美術館，2014，頁126。<div> </div>", "musicName": "無", "musicTip": "聽導覽", "weight": 6, "musicText": "", "musicURL": "" }, "basic-552zbre3md": { "id": "basic-552zbre3md", "type": "basic", "sortable": true, "primaryObj": { "oid": "8793c479050dc53de0cce9c66843a361", "fileType": "image", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/dd718663db4340a4eaabd96c1a1636ef.jpg?itok=m8DpFCNe", "level": "primary", "title": "吳瑪悧", "desc": "", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/dd718663db4340a4eaabd96c1a1636ef.jpg?itok=XgyDVNuG", "thumbMediumURI": 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2016年吳瑪悧獲國家文藝獎美術類成首位女性得主。吳瑪悧在1985年回到臺灣、投入全新環境，她重新思考藝術家在社會中的角色，並對與社會相關的作品產生興趣，將創作的目光轉向重新詮釋歷史的裝置和物件。自個人創作，逐漸轉向關懷性的社會介入、社區聯結與群眾在地意識的啟蒙等跨領域的探討。 資料來源：<a target=\"_blank\" rel=\"nofollow\" href=\"https://waa.org.tw/members/mali-wu/\">吳瑪悧 | 台灣女性藝術協會</a> 補充資料：<a target=\"_blank\" rel=\"nofollow\" href=\"https://www.youtube.com/watch?v=VqWy-65MF00&ab_channel=TatlerTaiwan\">【亞洲最具影響力人物】國家文藝獎首位女性得主吳瑪悧的倡議先鋒之路</a>、<a target=\"_blank\" rel=\"nofollow\" href=\"https://www.youtube.com/watch?v=4rU7NGGAVVk&ab_channel=%E5%9C%8B%E8%97%9D%E6%9C%83\">第十九屆國家文藝獎得主── 藝術家吳瑪悧</a> ", "musicName": "無", "musicTip": "聽導覽", "weight": 7, "musicText": "", "musicURL": "" }, "embed_html-rzcihvzpfo": { "id": "embed_html-rzcihvzpfo", "type": "embed_html", "sortable": true, "weight": 8, "embed_html": "<iframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/VqWy-65MF00?si=zQOUCsyE_sA5y7ue\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; 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"<ul><li>這些作品最初的靈感來源於線上的同性戀生活。我認為，在當下這個時代，表現自我並為自己的身份感到自豪比以往任何時候都重要。</li><li>泳池是一個充滿隱喻的環境。它們作為獨立的世界並存於更大的世界之中，正如同性戀群體既是社會的一部分又有其自身的獨特性。</li><li>泳池內的人看向外面，或者泳池外的人看向裡面，彼此之間的視角都會略顯扭曲。泳池象徵著流動性、純潔、潔淨、懸浮、溫度、包容、排斥以及孤立。泳池將一群人孤立開來，成為一個獨特的社群，短暫地構成另一個「世界」。</li><li>某種程度上，這也是我眼中的同性戀群體：既是獨立的，又是更大世界的一部分。</li><li>資料來源:<a target=\"_blank\" rel=\"nofollow\" href=\"https://thequeermuseum.art/david-jester/\">the queer museum</a></li></ul>" }, "theme-c3vrur77gd": { "id": "theme-c3vrur77gd", "type": "theme", "sortable": true, "primaryObj": { "oid": "172b7e47e4d17b8d280bb5067ce74269", "fileType": "image", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/54975dfaf28b5fcc076ab6fd09fb6b5a.jpg?itok=ycAwaMN6", "level": "primary", "title": "未定義之間", "desc": "", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/54975dfaf28b5fcc076ab6fd09fb6b5a.jpg?itok=VAcNk3Cn", "thumbMediumURI": 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然而，現今社會仍然對女性灌輸一種錯誤觀念：女性的身體除了頭皮以外不應該有任何毛根。這樣的女性根本不存在，而那些極為接近這種「理想女性」形象的人，多數是能為自己身體投入數十萬到數百萬資金的少數人。這是一種被打造出來的「女性」，或者說是部分將「女性」作為職業的存在。 而我，並不是將「女性」作為職業的女性。我認為，這個世界上，大多數生活著的女性都不是將「女性」作為職業的存在。用醜陋的腿部皮膚取代美麗的夜空，來傾訴女性的「生存艱辛」。 女性主義的一個課題在於，女性的身體（女體）所具有的生物學層面，與文化和社會視覺為主的環境所構築的「女性應該是這樣」之間的錯位與壓迫。此外，社會忽視了女性為成為「女性」所背負的經濟負擔。 這樣的觀點並不新穎，甚至早已出現在書籍之中。然而，書寫或創作作品並不意味著相關問題就此結束，這僅僅是起點。我們需要的是實踐，然而我們極度缺乏實踐。或者，也許正如朱莉亞·克莉斯蒂娃所言，「女性時間」的概念認為，重複本身具有意義。<div> </div>" }, "imgs-muzhm7m9te": { "id": "imgs-muzhm7m9te", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "c1ff30e3e548988228051be305a0b132", "title": "案板上魚", "desc": "《案板上魚》(2001)以家庭廚房為背景，描繪了西亞蝶與他的愛人緊緊合為一體，化作一條躺在檯面上的魚，即將被烹飪吞食。他們的頭頂貼著案板 (砧板) ，鋒利的刀刃近在咫尺。兩隻貓在他們頂部的架子上焦急徘徊，等待著捕獵的好時機。明知大難臨頭，這對愛侶即將面臨處決，但他們仍選擇在此刻肆意交歡，享受最後的歡愉。", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/e807571b788f53b301b355819849eef0.jpg?itok=axANslYc", "thumbMediumURI": 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"《向女性致敬》完成於1993年，全圖由十二區塊各自獨立之畫面構成，其中六片為寫實具像之花朵玫瑰，紅黃澄紫，怒放盛開，花瓣層疊彎捲，顫然愉悅嬌豔。另外六片則是不具形象之色彩構成，隱約之中有石化之骨骸，又有流洩之瀑布，還有遼闊之藍天，虛實真假之間，全繫觀者之閱讀。「我在花中看到女性的生命，我在佛法中看到眾生的生命，….我以為在男性中心社會找不到的屬於女性的正義與公平，都在佛法中尋到答案。佛法使女性的歷史不再是單一性別備受歧視與壓抑的苦難紀錄。這對我而言，是個新的啟示與開展。」(撰稿:賴瑛瑛)", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/89504cd8fc8ac1a7c5bf7b848c098d45.jpg?itok=_MTqvcHb", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/89504cd8fc8ac1a7c5bf7b848c098d45.jpg?itok=2YqaePiP", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/89504cd8fc8ac1a7c5bf7b848c098d45.jpg?itok=9AJOq9XQ", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/89504cd8fc8ac1a7c5bf7b848c098d45.jpg?itok=M4vlsZ1A", "mfid": "89504cd8fc8ac1a7c5bf7b848c098d45", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/89504cd8fc8ac1a7c5bf7b848c098d45.jpg?itok=6xLmxnDH", "fileType": "image", "fileCreator": "嚴明惠", "rights": "臺北市立美術館", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "創用CC 姓名標示-非商業性-相同方式分享", "fileDisableLink": "1", "sourceID": "", "creator": "", "fileOversize": false, "level": "primary" }, "musicText": "", "musicURL": "", "title": "嚴明惠", "desc": "1993年以後嚴明惠開始嘗試釉彩與女體的表現，原來聚焦特寫作為高亢不平之鳴的性象徵，開始隱形縮小為人體的局部，可見其對女性主義在台灣社會轉向的思考，從「性解放」的性自覺到文化自覺的台灣女性主義發展路徑的聲明。出處：薛燕玲，國立臺灣美術館典藏詮釋資料，2018。<div> 八○年代開始，嚴明惠持續以花、果的繪畫圖像探討「女性反映男性中心社會的性別觀察與感受」。花果系列有鮮花之玫瑰、火鶴、洋蘭等，以及蘋果、蕃茄、葡萄等，暗喻女性胴體之豐美、繁茂與蘊育之生命力。嚴明惠自1988年以後，創作一系列以水果為主體的油畫作品，採取寫實的手法描繪蘋果、番茄、李子、葡萄等之台灣常見之水果，以形似陰戶與乳房器官的圖像，作為女性身體的隱喻，細緻的筆觸與飽滿鮮麗的色彩，使得這些水果呈現豐碩的生命力，仔細端看則呈現一種情慾意象，嚴明惠藉由水果傳達了女性自身體感受到的生命與情慾，作為翻轉傳統社會制度之女性意識的傳達。1990年之後嚴明惠更創作一系列大尺寸寫實描繪的花朵作品，以形似的圖像意圖作為男女身體的隱喻，展現她對女性生命的體悟，也作為自身的投射與救贖，藉之解脫女性主體受壓抑的境況。 資料來源：向女性致敬 | 臺北市立美術館、嚴明惠－愛人的耳朵－國美典藏</div>" }, "imgs-0l7df82l28": { "id": "imgs-0l7df82l28", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "324ecd80fcd0b256cc3cd026c5f70c94", "title": "Gluck", "desc": "作品介紹：\n　　這幅自畫像是Gluck頭部的特寫，採用寫實畫風。Gluck的頭微微後仰，可以清楚地看到他的鼻孔、緊閉的嘴唇以及俯視觀者，顯現藝術家顯得自信、驕傲和挑釁。畫作中，Gluck的髮型和衣著呈現傳統意義上的男性化，這反映Gluck選擇不遵循當時的性別規範。\n　　這幅畫創作於對女性而言極具限制的時期，當時社會普遍不認可女同性戀關係。這幅自畫像展現Gluck堅定的個性和勇敢的決心，決意按照自己的規則生活，而非遵循社會或家庭的期待。它也標誌著Gluck生活中的一個困難時期，當時他與Nesta Obermer的關係正處於破裂邊緣。這段關係被描述為「強烈且全力以赴」。Gluck將其形容為一場婚姻，儘管Obermer當時已經嫁給一個男人。\n\n資料來源：National Portrait Gallery", "thumbURI": 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"fileLicence": "創用CC 姓名標示-非商業性-相同方式分享", "fileDisableLink": "1", "sourceID": "", "creator": "", "fileOversize": false, "level": "primary" } ], "items": { "imgs-0l7df82l28-y1v6r21dk5": { "id": "imgs-0l7df82l28-y1v6r21dk5", "title": "Gluck", "desc": "作品介紹：\n　　這幅自畫像是Gluck頭部的特寫，採用寫實畫風。Gluck的頭微微後仰，可以清楚地看到他的鼻孔、緊閉的嘴唇以及俯視觀者，顯現藝術家顯得自信、驕傲和挑釁。畫作中，Gluck的髮型和衣著呈現傳統意義上的男性化，這反映Gluck選擇不遵循當時的性別規範。\n　　這幅畫創作於對女性而言極具限制的時期，當時社會普遍不認可女同性戀關係。這幅自畫像展現Gluck堅定的個性和勇敢的決心，決意按照自己的規則生活，而非遵循社會或家庭的期待。它也標誌著Gluck生活中的一個困難時期，當時他與Nesta Obermer的關係正處於破裂邊緣。這段關係被描述為「強烈且全力以赴」。Gluck將其形容為一場婚姻，儘管Obermer當時已經嫁給一個男人。\n\n資料來源：National Portrait Gallery", "primaryObj": { "oid": "324ecd80fcd0b256cc3cd026c5f70c94", "title": "Gluck", "desc": "作品介紹：\n　　這幅自畫像是Gluck頭部的特寫，採用寫實畫風。Gluck的頭微微後仰，可以清楚地看到他的鼻孔、緊閉的嘴唇以及俯視觀者，顯現藝術家顯得自信、驕傲和挑釁。畫作中，Gluck的髮型和衣著呈現傳統意義上的男性化，這反映Gluck選擇不遵循當時的性別規範。\n　　這幅畫創作於對女性而言極具限制的時期，當時社會普遍不認可女同性戀關係。這幅自畫像展現Gluck堅定的個性和勇敢的決心，決意按照自己的規則生活，而非遵循社會或家庭的期待。它也標誌著Gluck生活中的一個困難時期，當時他與Nesta 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"本次展出的《藏愛於子》與《藏愛於女》，其畫面上皆呈現緊密結構的凝聚力—兩兩同志伴侶或環抱孩童或揹起另一伴，都以一種象徵承擔的堅毅力量，充滿濃厚愛意與和樂家庭的意象，在溫柔祥和的扶持中無懼同性婚姻的實踐，也可見藝術家對於家庭構成的想法是由成對伴侶與孩子所組合而成。透過描繪畫作人物緊密肢體的互動及打破僵化的性別角色設定，表述同性之愛的平等，具現「多元成家」的象徵意義。", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/0d74d43a38620d6dbd38ccd14677f8ac.jpg?itok=ZxdLD9gV", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/0d74d43a38620d6dbd38ccd14677f8ac.jpg?itok=NNPoJfCN", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/0d74d43a38620d6dbd38ccd14677f8ac.jpg?itok=Y8-1Zrw9", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/0d74d43a38620d6dbd38ccd14677f8ac.jpg?itok=8Y03Zi2U", "mfid": "0d74d43a38620d6dbd38ccd14677f8ac", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/0d74d43a38620d6dbd38ccd14677f8ac.jpg?itok=HX7ZlWPz", "fileType": "image", "fileCreator": "王文清", "rights": "MOCA TAIPEI 台北當代藝術館", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": "1", "sourceID": "", "creator": "", "fileOversize": false, "level": "primary" }, "musicText": "", "musicURL": "", "desc": " 　　《藏愛於子》與《藏愛於女》兩幅作品創作於王文清經歷父親過世及重逢多年未見的母親等重大變故，對他的人生和創作帶來深刻的觸動，使他更加關注人類關係、性別認同、家庭與刻板印象等議題。其畫面上呈現緊密結構的凝聚力—兩兩同志伴侶或環抱孩童或揹起另一伴，象徵著承擔與堅毅的力量，表達充滿愛意與和樂家庭的意象。在溫柔祥和的扶持中勇於實踐同性婚姻，無懼他人的偏見。由此可見藝術家認為家庭的構成是由成對伴侶與孩子所組合而成。透過描繪人物緊密的肢體互動及打破僵化的性別角色設定，表述同性之愛的平等，具現「多元成家」。\n  資料來源：<a target=\"_blank\" rel=\"nofollow\" href=\"https://www.mocataipei.org.tw/tw/ExhibitionAndEvent/Info/%E5%85%89%E2%80%A7%E5%90%88%E4%BD%9C%E7%94%A8%EF%BC%8D%E4%BA%9E%E6%B4%B2%E7%95%B6%E4%BB%A3%E8%97%9D%E8%A1%93%E5%90%8C%E5%BF%97%E8%AD%B0%E9%A1%8C%E5%B1%95/%E3%80%8A%E8%97%8F%E6%84%9B%E6%96%BC%E5%AD%90%E3%80%8B\">MOCA TAIPEI</a>" }, "basic-suq6sloffq": { "id": "basic-suq6sloffq", "type": "basic", "sortable": true, "primaryObj": { "oid": "7841995dbec57e5205db0d744fe181bb", "fileType": "image", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/47525b92f85963d9aa072afe7f1b884d.jpg?itok=IgoV0kmD", "level": "primary", "title": "王文清", "desc": "王文清，1964年生於新加坡，畢業於美國賓州美術學院，擁有豐富的國際展覽經歷，作品曾被新加坡國立大學美術館及新加坡國家美術館收藏，現今往返於印尼與美國兩地創作。\n王文清擅長以炭筆創作，強調保留自動性技法的痕跡，呈現出具超現實主義風格的生動人像。他的創作靈感來自周圍朋友及自身經歷，特別關注家庭關係及性別認同，尤以華人家庭中性別角色的探討為主題。由於自身的同性婚姻經歷，他的作品更進一步探討婚姻中的性別角色，試圖解構婚姻配由男女組成，提出反思與辯證。近期，王文清的創作範疇也拓展至歷史事件的敘事，呈現出對社會與文化的關懷。\n\n資料來源：MOCA TAIPEI", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/47525b92f85963d9aa072afe7f1b884d.jpg?itok=8xhAeokX", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/47525b92f85963d9aa072afe7f1b884d.jpg?itok=Ff4OmgrT", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/47525b92f85963d9aa072afe7f1b884d.jpg?itok=RyHS9DDL", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/47525b92f85963d9aa072afe7f1b884d.jpg?itok=7MjQdG6K", "mfid": "47525b92f85963d9aa072afe7f1b884d", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "SUNPRIDE FUNDATION", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "創用CC 姓名標示-非商業性-相同方式分享", "fileDisableLink": "1", "sourceID": "", "creator": "", "fileOversize": false }, "title": "王文清", "desc": " 　　王文清，1964年生於新加坡，畢業於美國賓州美術學院，擁有豐富的國際展覽經歷，作品曾被新加坡國立大學美術館及新加坡國家美術館收藏，現今往返於印尼與美國兩地創作。 　　王文清擅長以炭筆創作，強調保留自動性技法的痕跡，呈現出具超現實主義風格的生動人像。他的創作靈感來自周圍朋友及自身經歷，特別關注家庭關係及性別認同，尤以華人家庭中性別角色的探討為主題。由於自身的同性婚姻經歷，他的作品更進一步探討婚姻中的性別角色，試圖解構婚姻配由男女組成，提出反思與辯證。近期，王文清的創作範疇也拓展至歷史事件的敘事，呈現出對社會與文化的關懷。 資料來源：<a target=\"_blank\" rel=\"nofollow\" href=\"https://www.mocataipei.org.tw/tw/ExhibitionAndEvent/Info/%E5%85%89%E2%80%A7%E5%90%88%E4%BD%9C%E7%94%A8%EF%BC%8D%E4%BA%9E%E6%B4%B2%E7%95%B6%E4%BB%A3%E8%97%9D%E8%A1%93%E5%90%8C%E5%BF%97%E8%AD%B0%E9%A1%8C%E5%B1%95/%E3%80%8A%E8%97%8F%E6%84%9B%E6%96%BC%E5%AD%90%E3%80%8B\">MOCA TAIPEI</a>", "musicName": "無", "musicTip": "聽導覽", "weight": 33, "musicText": "", "musicURL": "" }, "highlight_basic-2x1lmhq6os": { "id": "highlight_basic-2x1lmhq6os", "type": "highlight_basic", "sortable": true, "primaryObj": { "oid": "d749f183c85f335fb6f29437589b5c5c", "fileType": "image", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/408bfc33698a22cef52145350c486a14.jpg?itok=HBTwJu-J", "level": "primary", "title": "Harry Pregnant/Harry Pregnant (Montreal, Canada. 2015)", "desc": "這幅作品描繪了攝影師的伴侶——一位懷著他們孩子的跨性別男性。藝術家JJ Levine使用大畫幅膠片相機，記錄了他們生命中這個重要且私密的時刻，而不對懷孕的跨性別男性身體進行獵奇化處理。通過這幅作品，JJ挑戰我們重新思考對性別的生活與身體經驗的看法。", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/408bfc33698a22cef52145350c486a14.jpg?itok=INTeHJXe", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/408bfc33698a22cef52145350c486a14.jpg?itok=oEdS1DUK", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/408bfc33698a22cef52145350c486a14.jpg?itok=QUAOGeDQ", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/408bfc33698a22cef52145350c486a14.jpg?itok=DjRARTjn", "mfid": "408bfc33698a22cef52145350c486a14", "musicURL": "", "musicName": "", "fileCreator": "JJ Levine", "rights": "JJ Levine", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "創用CC 姓名標示-非商業性-相同方式分享", "fileDisableLink": "1", "sourceID": "", "creator": "", "fileOversize": false }, "title": "Harry Pregnant", "desc": "<ul><li>這幅作品描繪了攝影師的伴侶——一位懷著他們孩子的跨性別男性。</li><li>藝術家JJ Levine使用大畫幅膠片相機，記錄了他們生命中這個重要且私密的時刻，而不對懷孕的跨性別男性身體進行獵奇化處理。</li><li>通過這幅作品，JJ挑戰我們重新思考對性別的生活與身體經驗的看法。</li><li>資料來源:<a target=\"_blank\" rel=\"nofollow\" href=\"https://www.facebook.com/photo.php?fbid=1070471919987634&id=489937034707795&set=a.1070471606654332&locale=sr_RS\">Global Health 50/50</a></li></ul>", "musicName": "無", "musicTip": "聽導覽", "weight": 34, "musicText": "", "musicURL": "" }, "basic-67y678bxni": { "id": "basic-67y678bxni", "type": "basic", "sortable": true, "primaryObj": { "oid": "ea92e43f0cf1cd8d506b02bec7664524", "fileType": "image", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/331d754ce403a5d1b3f4460a20caca94.jpg?itok=pIZFHw1Y", "level": "primary", "title": "JJ Levine", "desc": "", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/331d754ce403a5d1b3f4460a20caca94.jpg?itok=YVxAfuz2", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/331d754ce403a5d1b3f4460a20caca94.jpg?itok=hz-ZTzeM", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/331d754ce403a5d1b3f4460a20caca94.jpg?itok=GbwFLSlq", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/331d754ce403a5d1b3f4460a20caca94.jpg?itok=jXc4phOS", "mfid": "331d754ce403a5d1b3f4460a20caca94", "musicURL": "", "musicName": "", "fileCreator": "Jeffrey Alexander Torgerson", "rights": "Fugues", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": "1", "sourceID": "", "creator": "", "fileOversize": false }, "title": "JJ Levine", "desc": "<ul><li>JJ Levine 是一位來自蒙特利爾的加拿大跨性別藝術家，因身為紀錄片導演的母親送給他一台相機後就此踏入攝影的領域，並專注於攝影肖像。</li><li>他的作品透過對酷兒主題在家庭空間和情境中的擺拍照片，質疑傳統的性別認同角色。其攝影系列《Queer Portraits》、《Alone Time》和《Switch》最為聞名。</li><li>Levine 的作品僅與個人熟識的朋友合作，通常是在他們自己的家中拍攝。根據 Levine 的說法，他的影像旨在「從熟悉和自我探索的角度慶祝邊緣性，而非從窺視的角度」。</li><li>對於《Alone Time》，Levine 表示，「通過展示一個身體能夠生動且可信地體現兩種性別，我的項目質疑了主流對二元性別角色的描述。」</li><li>在Levine的拍攝生涯中曾獲得加拿大藝術委員會和魁北克藝術與文學委員會的資助。並在2018年獲得康考迪亞大學（Concordia University）攝影與性別研究跨學科的美術學士碩士學位。</li><li>資料來源:<a target=\"_blank\" rel=\"nofollow\" href=\"https://en.wikipedia.org/wiki/JJ_Levine\">Wikipedia</a></li></ul><div> </div>", "musicName": "無", "musicTip": "聽導覽", "weight": 35, "musicText": "", "musicURL": "" }, "basic-g87ez05l6b": { "id": "basic-g87ez05l6b", "type": "basic", "sortable": true, "primaryObj": { "oid": "9f6083f47f040e374ae39d56faef5349", "fileType": "image", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/5f8b5c12e719d59e78f9f351bdf6cfe5.jpg?itok=oVMgYIt_", "level": "primary", "title": "Life Partners/Life Partners (Karnataka, India)", "desc": "一名丈夫與他的跨性別妻子站在他們在印度卡纳塔克邦共同居住了40年的家前。\n這對伴侶堅定地直視鏡頭，讓人不禁思考，他們在這個直到近期才合法化跨性別婚姻的社會中所面臨的困難與歧視。\n跨性別者在印度歷史上經歷了多種角色轉變，從宮廷藝伎到被邊緣化的群體，再到今天的合法公民。\n2014年，印度最高法院通過「第三性別裁決」，首次將跨性別權利納入法律，對這樣的伴侶而言是巨大的進步。\n然而，跨性別者的權利仍未完全落實，許多活動家認為，法律雖然是突破性的一步，但仍缺乏對自我認同的基本保障。\n出處：Global Health 50/50", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/5f8b5c12e719d59e78f9f351bdf6cfe5.jpg?itok=HBqzIKms", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/5f8b5c12e719d59e78f9f351bdf6cfe5.jpg?itok=mHptq0k6", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/5f8b5c12e719d59e78f9f351bdf6cfe5.jpg?itok=GbbOR9kQ", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/5f8b5c12e719d59e78f9f351bdf6cfe5.jpg?itok=4Cjb_iNc", "mfid": "5f8b5c12e719d59e78f9f351bdf6cfe5", "musicURL": "", "musicName": "", "fileCreator": "Digwas", "rights": "Digwas Bellemane", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "創用CC 姓名標示-非商業性-相同方式分享", "fileDisableLink": "1", "sourceID": "", "creator": "", "fileOversize": false }, "title": "Life Partners", "desc": "<ul><li>一名丈夫與他的跨性別妻子站在他們在印度卡纳塔克邦共同居住了40年的家前，他們在這個直到近期才合法化跨性別婚姻的社會中所面臨的困難與歧視。</li><li>跨性別者在印度歷史上經歷了多種角色轉變，從宮廷藝伎到被邊緣化的群體，再到今天的合法公民。</li><li>2014年，印度最高法院通過「第三性別裁決」，首次將跨性別權利納入法律，對這樣的伴侶而言是巨大的進步。然而，跨性別者的權利仍未完全落實，許多活動家認為，法律雖然是突破性的一步，但仍缺乏對自我認同的基本保障。</li><li>資料來源:<a target=\"_blank\" rel=\"nofollow\" href=\"https://www.facebook.com/GlobalHlth5050/photos/life-partners-karnataka-india-digwas-bellemanea-husband-and-his-transgender-wife/1070472209987605/?_rdr\">Global Health</a></li></ul><div> </div>", "musicName": "無", "musicTip": "聽導覽", "weight": 36, "musicText": "", "musicURL": "" }, "imgs-hw0pipbpko": { "id": "imgs-hw0pipbpko", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": 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"musicURL": "", "desc": "玫瑰色的你們 Through the Rose-Colored Glasses —— <a target=\"_blank\" rel=\"nofollow\" href=\"https://plaza.openmuseum.tw/embed/remark/125950\" class=\"lightbox-link js-mfp-iframe\">陳泓圻</a>（左圖） 互生的薔薇未曾相互依靠 —— <a target=\"_blank\" rel=\"nofollow\" href=\"https://plaza.openmuseum.tw/embed/remark/125949\" class=\"lightbox-link js-mfp-iframe\">歐靜雲</a>（右圖）" }, "highlight_basic-tdk2m7ybwp": { "id": "highlight_basic-tdk2m7ybwp", "type": "highlight_basic", "sortable": true, "primaryObj": { "oid": "21fa8bfbf949703d1e01ffe838267507", "fileType": "image", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/369bc371ecb83397beb2cd833069a9bc.jpg?itok=dWBIVFe6", "level": "primary", "title": "紅衣少年", "desc": 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href=\"https://www.orange-review.com/2021/07/18201837.html\">Orange's Review</a>", "musicName": "無", "musicTip": "聽導覽", "weight": 42, "musicText": "", "musicURL": "" }, "text-yx8u0cuzjn": { "id": "text-yx8u0cuzjn", "type": "text", "sortable": true, "musicName": "無", "musicTip": "聽導覽", "weight": 43, "title": "推廣計畫", "desc": "１、校園巡迴講座<ul><li>目的：將展覽理念帶入校園，透過講座形式向學生群體傳遞多元性別平權的觀念，並促進思辨與互動。</li><li>規劃細節：</li><ul><li>講者選擇：尋找性別議題相關的專家學者、藝術創作者或是性別平權倡導者，結合展覽內容以激發學生思考。</li><li>講座設計：從社會歷史與文化脈絡切入，敘述性別多樣性的發展與挑戰；介紹展覽的核心理念與作品，結合藝術案例深入解讀；設置Q&A環節，鼓勵學生提出問題或分享個人觀點。</li></ul><li>推廣策略：</li><ul><li>校內合作：與學生會、諮商中心、社團等等合作推廣活動</li></ul><li>資源與支持：</li><ul><li>提供學生優惠或是免費入場券，並與當地教育機構合作爭取經費支持。</li><li>講座結束後分發展覽資訊手冊，鼓勵學生進一步參觀展覽。</li></ul></ul> ２、圍圈療癒討論會（AKA.坦蕩蕩小圈圈）<ul><li>目的：創造安全空間，讓餐與者分享個人經驗與故事，進一步理解多元性別的真實樣貌，並促進彼此之間的情感連結。</li><li>規劃細節：</li><ul><li>主持人選擇：邀請心理諮商師、性別研究專家或相關專業人士，以確保討論的專業性以及參與者的心理安全。</li><li>參與人數：每場控制在10~15人，保持小規模、深度交流的形式。</li><li>活動流程：藉由主持人帶領簡單的破冰活動，介紹活動規則（例如：尊重彼此發言，不批評他人等等）；每為參與者依序分享自己的故事，內容關於性別相關等經驗；最後，主持人總結大家的分享，並帶領一場簡短的放鬆或冥想活動。</li></ul><li>推廣策略：</li><ul><li>結合社群媒體與展覽現場宣傳，強調活動的療癒與共鳴效果。</li><li>提供簡單的小禮品（例如：展覽主題小卡）作為參與回饋。</li></ul></ul>", "musicText": "", "musicURL": "" }, "text-9l2plo295q": { "id": "text-9l2plo295q", "type": "text", "sortable": true, "musicName": "無", "musicTip": "聽導覽", "weight": 44, "title": "誌謝", "desc": "本展覽透過國立中興大學「展覽企劃」這堂課所建立，特別感謝指導教授趙欣怡", "musicText": "", "musicURL": "" }, "thanks": { "id": "thanks", "type": "thanks", "sortable": false, "thanksList": { "黃竹均": { "rights": "黃竹均", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "obj": [ "172b7e47e4d17b8d280bb5067ce74269", 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"c1ff30e3e548988228051be305a0b132": { "oid": "c1ff30e3e548988228051be305a0b132", "title": "案板上魚", "desc": "《案板上魚》(2001)以家庭廚房為背景，描繪了西亞蝶與他的愛人緊緊合為一體，化作一條躺在檯面上的魚，即將被烹飪吞食。他們的頭頂貼著案板 (砧板) ，鋒利的刀刃近在咫尺。兩隻貓在他們頂部的架子上焦急徘徊，等待著捕獵的好時機。明知大難臨頭，這對愛侶即將面臨處決，但他們仍選擇在此刻肆意交歡，享受最後的歡愉。", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/e807571b788f53b301b355819849eef0.jpg?itok=axANslYc", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/e807571b788f53b301b355819849eef0.jpg?itok=HWX2qoll", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/e807571b788f53b301b355819849eef0.jpg?itok=7NsFpnLg", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/e807571b788f53b301b355819849eef0.jpg?itok=si-dfekO", "mfid": "e807571b788f53b301b355819849eef0", "musicURL": "", "musicName": "", "fileURI": 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pension〉（Pension friendship），這本圖集收藏於耶魯大學美術館。\n　　Pension一詞雖有養老金或撫卹金的含義，譯名卻未採用「養老院情誼」或「寡婦友誼」，可能是為了不影響彩繪版複製品的銷量。類似題材的畫作在19世紀相當普遍，如1820年的《Lady Strachan and Lady Warwick making love in a park》和幾乎相同情境的《Amorous Ladys, or tête-à-tête ex Strachnary》，這些作品經常公開展售且主題明顯流行。1830年的英文詩集《Don Leon》中甚至提到這類畫中情節，進一步頌揚同性愛情。\n　　遺憾的是，這些畫作往往帶有諷刺意味，並非真實描繪情感，而是男性畫家嘲弄旁觀丈夫的政治漫畫化創作，旨在挑逗觀眾而非反映現實。\n\n資料來源：Orange's Review", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/2276df9a4f8753536d9a30fd48c606b5.jpg?itok=qGMM0jNG", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/2276df9a4f8753536d9a30fd48c606b5.jpg?itok=2E2UGGAb", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/2276df9a4f8753536d9a30fd48c606b5.jpg?itok=PGF85Q-i", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/2276df9a4f8753536d9a30fd48c606b5.jpg?itok=B1JYvdCB", "mfid": 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