「原來分離的生物彼此交融，產生了功能大於它們各部分總和的新個體。」——《演化之舞：生命主演的地球生命史》
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「人類」為何物？人與其他生命的關係是什麼？人在地質與生態中的真正位置究竟在何處？1960年代，科學家在人類細胞中的「粒線體」發現了獨立的DNA序列，進而促成生物學家琳恩．馬古利斯提出「內共生理論」。該理論指出人類的細胞與粒線體，其實源自於20億年前的熱漿菌與噬菌弧菌，他們彼此吞噬後，積極克服差異並共同生存，最終演化成所有動植物與真菌的原始細胞。這代表著，人類全身上下的每個細胞，本身就是兩種以上的生物共存下的產物。
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面對生態中如此多樣的各種存在及特異的跨物種關係，哲學家凱倫．巴芮德提出「酷兒展演性」的概念，將原先專屬於人類性別認同的「酷兒」一詞去人類中心化，擷取其中奇異、無法歸類、難以定義何謂正常的動態特質，為魟魚、雙鞭毛蟲，甚至是原子與量子建立酷兒論述。在這樣的思考下，馬古利斯筆下進入熱漿菌生活的噬菌弧菌，成為了物種演化史上的第一段酷兒共生關係。
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展覽「酷共生」為北師美術館與國藝會合作之「策展人培力＠美術館」專案，策展人林承緯（大緯）透過援引內共生與酷兒理論這兩組原先隸屬於演化生物學與性別理論的概念，在跨科際的敘事調度下，與藝術家、科學家及各種行動者彼此合作，在展覽中交織出數個充滿差異與活力的共生提案。
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本展共邀請11組臺灣當代藝術家，展覽從劉玗的〈珍奇櫃〉開始，探討生物學家如何透過感性敘事與個人比喻思考他者，引領觀眾進入北師美術館的挑高空間；在這裡，李紫彤談論政治暴力與網路跨身份展演的〈迎靈者〉、莊志維以烏心石樹苗探詢植物的「筆直」與優秀之間關係的現地製作新作〈直立優勢性〉，以及吳思嶔從自身視角記錄臺灣原住民與山羌關係的〈山羌模仿術〉等3組作品，透過土壤彼此串聯生長；一旁的低矮空間展出的〈酷兒白蟻計畫〉，由顧廣毅與白蟻科學家共同發展而來、張辰申的新作〈偏差愛好者〉透過器官標本製作與幫豬植牙的錄像作品討論人豬之間的混種關係、狸貓換則在3組新作〈紫待〉、〈巢間〉與〈房波〉中使用螢光酵母菌釀製酷兒酒，以此談論酷兒與原生異性戀家庭之間的衝突與離散；美術館三樓展出蘇琬婷、葉采薇、徐顥芸、張立曄的繪畫作品，這些作品在線條、色彩與敘事上衍生許多酷兒及異己共存的想像。展覽結束在類紀錄片〈日常關係〉之中，作品訪問5組專業工作與其他物種緊密關聯的實踐者，試圖捕捉跨物種關係實踐的多元樣態。
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人類的文明與科學發展一直都涵蓋在生態圈的範圍之內，肯認並理解棲地中被忽視的其他生命，從性少數、原住民到動植物與微生物，則是一種必須。在這座充滿酷兒身份與關係的非均質世界中，一場共存的練習正等待展開。
“Separate organisms blended together, creating new wholes that were greater than the sum of their parts.” – Microcosmos: Four Billion Years of Evolution from Our Microbial Ancestors
What is “human”? How is humanity related to other living organisms? What is the position of humanity in terms of geology and ecology? In the 1960s, scientists discovered independent mitochondrial deoxyribonucleic acid (DNA) in human cells, which led to the formulation of the “endosymbiotic theory” proposed by biologist Lynn Margulis (1938-2011). Margulis pointed out that human cells and mitochondria, in fact, originated from the merging of two bacteria: Thermoplasma acidophilum and Bdellavibrio, which devoured each other and actively overcame differences to achieve a symbiotic existence, eventually evolving into the genetic cells of animals, plants, and fungi. This discovery reveals that the cells that constitute a human body are fundamentally the product of the symbiosis of two or more living organisms.
In her discussion about such diversified existences and distinctive interspecies relations in the ecosphere, philosopher Karen Barad (1956-) proposed the idea of “queer performativity,” in which Barad took “queer,” a term predominantly used in the discourse of human gender identity, rendered it de-anthropocentric, and applied the dynamic qualities associated with the term: unusual, uncategorizable, and unfit for the common definition of normalcy, to construct a queer discourse for stingrays, dinoflagellates, and even atoms and quanta. Through such thinking, the Bdellavibrio living in Thermoplasma acidophilum described in Margulis’s work formed the very first queer symbiosis in evolutionary history.
Co-becoming(s) is a selected project of the Curators’ Incubator Program @ Museums, which is organized by the National Culture and Arts Foundation, in collaboration with the Museum of National Taipei University of Education. Curator Lin Cheng-Wei (Davey) aims to employ endosymbiosis and queer theories – two separate concepts from evolutionary biology and gender theory; in such an interweaving of interdisciplinary narratives, he collaborates with artists, scientists, and activists to bring about symbiosis-inspired projects characterized by differences and vitality.
This exhibition features eleven contemporary artists from Taiwan, and opens with Cabinet of Curiosities by LIU Yu, who discusses how a biologist thinks about the conception of “the other” through personal sensibility and figure of speech. In the high-ceiling space of the MoNTUE, three works ensue: LEE Tzu-Tung’s #Ghostkeepers explores political violence and online inter-identity performance. Through a batch of Formosan Michelia seedlings, CHUANG Chih-Wei’s Straight Dominance is a new site-specific work that addresses the connection between “straightness” and the idea of excellence. In Muntjac Imitation, WU Sih-Chin documents the relationship between indigenous people and muntjacs from his own viewpoint. The three works are connected by soil, a nurturing symbol. Several projects are on view in the adjacent lower ceiling space: Queer Termite Project is a project co-developed by KU Kuang-Yi and entomologists. CHANG Chen-Shen’s Incarnation Project: Deviation Lovers is a new work that explores the hybridizing relation between humans and pigs through organ specimen production, which is complemented by a video piece on dental implant for pigs. In her three new works, titled qpHesitation, qpNestitation, and qpFence respectively, transpossum utilizes fluorescent yeast to brew queer wine and in turn inquire into the conflicts and subsequent diaspora between queer individuals and their heterosexual families of origin. The third-floor gallery exhibits drawings and paintings by SU Wan-Ting, YEH Tsai-Wei, XU Hao-Yun and CHANG Li-Yeh. The lines, colors and narratives visualized in their works provide further imagination about queer coexistence with others. The exhibition concludes with Correlated dailies, a semi-documentary that is comprised of interviews with five groups of people, whose professions are closely related to other species. The film aims to capture the diverse practices of inter-species relations.
The development of civilization and science is inherently entwined with the ecosphere. It is imperative for humanity to acknowledge and understand lives that have been overlooked, be it sexual minorities, indigenous peoples, fauna and flora, or microorganisms, with whom we share a habitat. In this non-homogeneous world informed by queer identities and relations, a practice of co-becoming(s) is waiting to commence.
展覽資訊
展覽單位
● MoNTUE概念 為國立臺北教育大學於2011年8月成立的大學美術館， 建築以玻璃帷幕之穿透性、開放性、親和性為概念， 將社區與學校週遭風景融為一體， 未來更為發動城市美學與藝術的引擎， 是一間被大樹環抱的當代美術館。
