---
tags: reviews
title: sex ecologies
link: https://hackmd.io/@BOW/sex_ecologies
---
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font-size: 24px;
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{%hackmd SkPurArK4 %}

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# Sex Ecologies 性生態

[TOC]

## basic info 展覽簡介
***9 December 2021–6 March 2022***

展覽專刊裡的文字以及啟發的影片都十分性感
Ziggy and the Starfish (2016)
Anne Duk Hee Jordan
https://vimeo.com/187497048

之前寫的介紹文字感覺不太對

~~性是關於控制與支配，生態是我們慾望西方科學進步所引入的翻譯詞彙，兩者皆是激烈的鬥爭場域，絕無表面上看來的天真無邪，魅惑誘人。探討被壓迫的性生態，挪威特倫汗美術館和瑞典林雪平大學種子箱環境人文實驗室以兩年共同合作的時間，和九組遍及歐亞非裔的藝術家集體策劃，創作了這檔展覽的所有新作。帶出一些如何以新鮮有趣的方式重新看待我們身處於自然的關係、滋養與傷害，這樣的共創形式值得反覆被書寫，因為持續性自然／文化、歷史撕裂仍應照了當今延續的矛盾與衝突所在。~~

Kunsthall Trondheim, Norway
University of Linköping The Seed Box environmental humanities, Sweden
Curator of public programs 公眾活動策展團隊：
塞內加爾 Raw Material Company, Senegal

---

## exhibited artists 參展藝術家

九位展出藝術家包括
1. 范加（Jes Fan）：將銘刻了「東、方、之、珠」四個字的珠母，植入牡蠣之中，象徵英國對香港殖民，外來物、入侵物與欲望的界線。
2. Ibrahim Fazlic：以塑膠、矽膠為服裝表演來強調人的呼吸也會腐蝕、污染塑膠矽膠，導致材質逐漸崩解脆化成為微型塑膠入侵我們的生體兩方之間的愉虐關係。
3. Anne Duk Hee Jordan：是一位韓裔德籍的藝術家，以微生物做為舞池，探討微生物侵蝕殖民霸權的可能。
4. Jessie Kleemann：探討了家鄉格陵蘭的神話與水域。
5. Pedro Neves Marques：拍攝了男性成為代理孕母的影片。
6. Okwui Okpokwasili：的舞蹈探索女人如何由身體從內而外發出力量。
7. Anna Tje：則以非洲水果 safou fruit 的視角發展出一系列作品。
8. Margrethe Pettersen：以特倫汗當地河川裡的青苔為主題，用水下錄音的方式打造一種水中宇宙。
9. Alberta Whittle：用自己的身體和啃食木頭的船蛆形成一種關係，以合成的攝影與裝置呈現。

---

<!-- .slide: data-background="#00ffff" -->
Kunsthall Trondheim website and video discussing the curatorial process of the exhibition, including artists, researchers and museum director and administrators.
<iframe src="https://kunsthalltrondheim.no/en/utstillinger/sex-ecologies" name=book width=800 height=500>
</iframe>

---

## a transciption of the video and a Mandrin translation of the sex ecologies subtitle 展覽影片字幕翻譯，包含策展的細節與方法：

## slow programming 慢策展

嗨，我是史黛芬妮・海斯勒（Stefanie Hessler），挪威特倫汗美術館館長。Hi, I'm Stefanie Hessler, I'm the dirctor of Kunsthall Trondheim.

「性生態」是一項耗時兩年發展的展覽計畫，由瑞典林雪平大學的種子箱環境人文實驗室與特倫汗美術館合作。We're here inside the exhibition Sex Ecologies, which has been developed over two years with the environmental humanities collaboratory The Seed Box located at the University of Linköping in Sweden and with us at Kunsthall Trondheim.

種子箱藝術指導 Katja Aglert：這個計畫包含了展覽、公眾活動與一本書，探索新的合作形式、開放式過程是策展研究計畫的一部份。Katja Aglert, Artistc Leader, The Seed Box
It's an exhibition, a public program, and a book, but it's also a research project which explores new ways of working with an open-ended process as part of the curatorial work.

我們和九組藝術家合作，由「異株授粉」擔任顧問團。他們都特地為這檔展覽創作新作品。我們一起發展研究計畫，固定在線上開會、閱讀文本，討論不同的作品，可以說是一場集體的創作。We worked with an advisory board of cross-pollination and a group of nine artist. All of the nine artists created new works specifically for the exhibition. We developed the research together, had regular meetings online, read texts together, discussed the different works together, and it is really a collective endeavour.

我覺得成果很有團體的感覺。你可以在展出的許多作品之間看到關聯性。I think the result feels very collective. You can really see connections between the various works that are on view.

## nature/culture 自然／文化
The exhibition started with research looking into how European **Enlightment** notions of nature
展覽的起點是探討歐洲啟蒙主義對「自然」的概念
that separate nature from culture, and consider
nature as a resource for extraction,
如何將「自然」與「文化」分開，把自然當作資源來搾取，
have been detrimental to both
ecology but also to human lives
不只對生態有劇烈的傷害也危及了人類生存
and how ideas of sexuality and binary gender roles, etc. have been exported
還有性、以及性別角色的二分法等等，
by European missionaries to the colonies.
如何由歐洲傳教士宣揚到了殖民地。
So essentially, ideas of categorizing nature as a resource as well as ways that sexuality is categorized and
而，以「資源」的方式分類「自然」，和把「性」劃分成各個類別、
people are pushed into various categories is incredibly limiting and is also very damaging
把「人」強制分門別類，這樣的概念在本質上
to both nature or what we call nature and to humans alike.
對於我們所謂的自然及人類都是很有局限及有害的。

## underwater universe 水下宇宙
Margrethe Pettersen, Artist
藝術家 Margrethe Pettersen
This is "laibmat", a sound installation.
這是 laibmat 聲音裝置作品。
It's field recordings from the river that runs through Trondheim.
這是流經特倫汗的一條河流的田野錄音。
I got fascinated by the river moss, that organism who lives in
the river that we don't see and do not know so much about.
我對河流裡的青苔感興趣，我們看不到這些居住在河川裡的有機體，對他們也所知甚少。
I had this bodily experience, getting to know
the river with my body floating in the river,
親身經歷漂浮在河中，用自己的身體來認識河川，
and that was something I wanted to do with this piece.
那種感覺是我試著在這件作品裡揣摩的。
My recordings are underwater, and I want to kind of give this feeling
這些聲音是我在水下錄製的，
of being in an underwater universe.
希望營造一種在水下宇宙的感覺。

## extracted sufficiently 充分搾取
Katrine Elise Pedersen, Curator, Kunsthall Trondheim
特倫汗美術館策展人 Katrine Elise Pedersen
On the other hand, nature is also a category used to lower the status of those who haven't extracted themselves sufficiently
另一方面，那些沒有充分從必需品的支配及對自然的依賴中搾取東西的人
from the **reign** of necessity and dependence on nature.
身價被貶低，並被歸納為自然的一部分。
（camera pointing to a couple of coffee/tea that is half empty）
（鏡頭帶到剩下半杯的咖啡／茶）
As Kim TallBear, who contributed in the book, points out,
就有如對專刊內容有所貢獻的 Kim TallBear 指出，
the divide between humans and animals are co-constituted from hierarchies made between humans.
人和動物之間的分別和人類建立的層級關係是相互建構的。
So "animal" is also then the term used to denigrate particularly humans that are seen as "savage" or as less evolved.
因此，「動物」一詞也被用來詆毀特別是哪些被視為「野蠻」或進化程度較低的人。
Bodies like this are then viewed as in need of taming, as "deviant" and kind of like objects in need of control.
這些身體被視為需要被訓化的、「離經叛道的」，以及某種需要被掌控的物件／客體。
It was really valuable for me to just see all these kinds of worldviews we take for granted
對我來說最有價值的，是能夠看出我們當作理所當然的世界觀
that kind of just come with your childhood and
to see them as actually, they are not truths,
那些從小就被灌輸的東西，
能夠看出它們事實上並不是真理，
they are just being naturalized as truth.
它們只不過是被自然化了，成為理所當然。

## microplastic fetish 戀物叢結
(you are allowed to leave, but I'm asking you to stay)
（你可以離開，但我懇求你留下來）
Ibrahim Fazlic, Artist
藝術家 Ibrahim Fazlic
I work with fetish.
我的作品是關於戀物癖。
With feitshizing plastic or latex or
also this microplastic fetishism,
根據這場與塑膠、矽膠或是微塑膠顆粒的戀物叢結，
to have this toxicity within oneself that is fetishized.
自己本身內在的毒性也被戀物癖化了。
But also, we are feitshizing plastics in our
society and this overconsumption.
而且我們對於社會依戀塑膠以及其過度消費的方式都具備戀物情結。
The kink world, or the world of fetishism, it belongs
to everybody, also non-queer people.
特殊性癖好的世界、戀物的世界屬於每個人，
包括非酷兒的族群。
When one is queer, there are already
some rules that have been broken,
當一個人是酷兒的時候，
有些規則已經被打破了，
so you are less reluctant to follow these moralistic codes
所以會變得不太情願去跟隨道德規訓
and can enter the world,
also the erotic world,
而可以進入這個世界，
還有情慾的世界，
with more curiosity.
帶著比較多的好奇心。

## metabolic words 東方之珠
We invited the artist Jes Fan to make
a new work for the exhibition.
我們邀請了藝術家范加為這檔展覽創作新作。
Jes has been very interested in the term and process of productive contamination.
范加對具有生產力的污染的過程很感興趣。
He learned a lot about oysters and
the way that they make pearls.
他學習了許多關於牡蠣以及如何製造牡蠣的方法。
His family is partly from Hong Kong, so it was interesting
for him to consider the role of Hong Kong
他的家族有一部分來自香港，
做為世界上生產牡蠣的其中一個地方
as one of the pearl-producing
countries in the world.
他對於香港所扮演的角色感興趣。
Together with Yan-Wa-tat, he developed these
Chinese signs that he inserted into the oysters.
他和 Yan-Wa-tat 一起將蝕刻了中文的珠母放入牡蠣。
Jes created four different shells
that read "Pearl of the East",
四顆牡蠣各個帶著「東方之珠」其中一字，
and that sentence used to be the name that the British colonizers gave to Hong Kong while it was under their rule.
這個成語是英國殖民者統治時給香港的名字。
Jes brought that sentence back into the pearl and
sort of almost in a very kind of somatic way,
范加以非常肉體、新陳代謝的方式把這句話重新帶回珍珠裡，
a metabolic way, inserted and sort of consumed
this term by and through the oysters.
藉由把文字植入牡蠣，或是說藉由牡蠣本身來反芻這句話。

## all new commissions 全新委託
There are as many new commissions as there are
artists in the exhibition, so nine new commissions.
這場展覽裡的新委託創作和藝術家的數量一樣多，九組藝術家九組新創作。
We set out the process similarly with
them as in the curatorial process.
我們和藝術家的合作過程和策展過程相似。
Because we have actually met with the artists during the production
or the research phase of these nine commissions.
在九組委託製作、研究過程中和藝術家實際會面。
We have met during five occasions and shared
experiences, questions, and conversations
在五次的會晤過程中，我們分享了經驗、問題與對話
throughout the making of
these nine commissions,
在這樣的過程中完成這九組委託創作，
which I don't think I've heard of
before that has ever been made.
我從未聽聞過這樣的製作方式。
It has been a very enriching
and transformative process.
整個過程十分具有滋養與翻轉的感覺。

## safer space 安全空間
Kaja Waagen, Assistant Curator, Kunsthall Trondheim
特倫汗美術館助理策展人 Kaja Waagen
It was really nice coming together in this safe space that was
created from the beginning already with the curatorial team,
策展團隊從一開始就建立了一個安全的空間，
where we were discussing
and thinking out loud.
我們可以一起討論思考。
And when we got into the theme of sexuality and nature,
how we all sort of discussed the feeling of embarrassment,
當觸及到性與自然的主題時，我們都談到了羞恥的感覺，
and we confronted everyone's phobia,
it was really interesting.
然後我們一起面對了每個人的恐懼。
For me personally, I needed the safe
space that we created for that,
對我個人而言，我需要那樣的安全空間，
and it made a huge personal
impression on me that part.
它也在我心中留下了深刻的印象。

## something out there 外在因素
Jessie Kleemann, Artist
藝術家 Jessie Kleemann
It's like when you do your writing and your sketching,
and you do your exercises, it comes to you:
就像你的書寫、繪畫或練習實踐，它來的時候：
like an urge or urgency.
就像一股急迫的需求。
I have to say I did some deep working on it.
必須說它耗費了我很深刻的心力。
Also, because it's not me working, but there's something
out there working that I have to let it speak,
也因為不僅是我，也有其他外在因素作用於其之上，我需要讓它說話，
to let it speak to me.
讓它對我說話。
Definitely, it inspires me in a way that I understand how important work that is.
當然，我知道這樣的工作很重要，因為它一直在啟發我。
Although I mean it's like forbidden fruit in many cultures still,
because we've been colonized, and we've been Christianized
雖然在許多文化中它依然像禁果般，
因為我們被殖民、基督教化之後
in how we perceive the world
and live the world.
如何看待與存活在這個世界的方式也隨之改變。
For me, I just find it really important to
to work with it, youk now.
所以你知道，對我來說與它一起工作真的很重要。

## shipworm desires 性蛆力
Alberta Whittle, Artist
藝術家 Alberta Whittle
And I found myself down a bit of a wormhole
of research, thinking about worms.
我發現自己好像掉進了研究、思考昆蟲的蟲洞裡。
In particular shipworms, their relationships
and desires and how they live.
特別是這些船蛆的生活、關係與慾望。
I found myself really curious about the potential for it to be this
collaboration between myself and these shipworms
我很好奇如果是和這些船蛆合作，會有什麼樣的潛力。
and what whould happen if I took materials, which they used
in their every day, which is pretty much eating wood.
以及它們每日浸淫的物質，那些被吃掉的木頭。
Eating wood and having sex is basically their life.
它們的生命基本上就是啃食木頭和發生性關係。
When I was making the hanging work, it's
quite a delicate, beaded, hanging piece
當我在創作與懸掛作品時，細緻的珠串
that eventually it's kind of like trails of
the beads sit in this spider conch.
就像是在蜘蛛螺裡坐落的路徑。
I wanted the gallery, well, my section of the gallery, to feel
very watery, to really reflect on these ideas of the ocean
我希望這個展覽區塊可以感覺非常潮濕，反映出海洋的概念，
and how much I think we really have to learn fromt he ocean still.
我們真的還有許多需要向海洋學習的地方。

## surrogacy kinship 代理孕父
Pedro Neves Marques, Artist
藝術家 Pedro Neves Marques
I think the works I'm showing,
on the one hand, especially the film,
我所呈現的作品，特別是影片的部分
I think it really questions
the idea of surrogacy.
質疑了代理懷孕的概念。
Gestation being something really important
to that film and gender roles.
孕育性對性別角色和那部影片來說十分重要。
I think in that case, my work provides
perhaps more of a human-centred view
就這方面來說，我的作品提供了較以人類為中心的觀點
of queer ecology or sex ecologies
than some of the other ones.
和展覽中其他探討酷兒、性生態的作品相較而言。
But then, my poems,
the poems I'm showing,
但是我在展覽中呈現的詩，
they also kind of focus on this idea of reporduction
as virality and reproduction beyond, let's say,
則聚焦在再生產／生殖的概念，
作為病毒或是超越性的再生產，
gestation in the body,
the animal body, human or not.
無論是否為人類的動物身體裡的孕育性。
And the kind of affinities and what kind of kinship can we build beyond this.
而我們能夠由此建立起什麼樣的親緣關係。

## composite threads 混合線頭
Yeah, the publication is a really inclusive and very
comprehensive take on this emerging topic.
對此新興議題出版物採取了非常具包容性與廣泛的角度。
We worked with 36 contributors,
out of which 22 contributed a new text.
三十六位作者中有二十二位都提供了新的文章。
Prerna Bishnoi, Project Coordinator, Sex Ecologies
性生態計劃統籌 Prerna Bishnoi
I think right from the beginning, we had a kind of outlook that the
book or the publication is not a summary or an end.
從一開始我們就沒有把刊物定位成概覽綜述或是一個結尾。
It's a new beginning, like a composite of new threads,
new beginnings, so it's like a seed.
它是一個新的開始，像新線頭、新起點的混合體，
所以就像一顆種子。
To approach it that way was to bring
together people from multiple fields
以這種方式切入便是把許多領域的人召集起來，
while also keeping in mind
that art is at the centre of it.
同時謹記以藝術為中心。
Something that is quite rarely done
when you approach different fields.
在其他領域中這樣的切入手法很少被實踐。
So it was to have a very multidisciplinary approach
to map a new and emerging field of Sex Ecologies,
因此多元領域的手法對應到性生態的新興領域，
which meant to kind of look towards Gender Studies,
to Disability Studies,to Indigenous Studies.
代表要深入去看性別研究、殘疾研究、原住民研究。
But also to poetry, like lyrics of songs and drawings,
including the works of the artists in this exhibition.
也要去看詩、歌詞與繪畫，包括這場展覽中藝術家們的創作。

## plants narrate, water incarnate 植物敘事及水輪迴
Curators of Programs, RAW Material Company
Dulcie Abrahams Altass, Marie Helene Pereira
生物質會社公眾節目策展人 Dulcie Abrahams Altass, Marie Helene Pereira
So RAW is ...
we have a library that specializes in Contemporary African Art in its broader sense.
RAW 有一個專注在廣泛而言的非洲當代藝術的圖書館。
We have an exhibition space. We do public programming.
Symposia, Publishing. Artist Residencies.
我們有一個展覽空間，從事公眾節目策劃。
We have the RAW academy program
也有學院計畫和許多的合作案，
and... a lot of collaborations, such as this
one with the Kunsthall Trondheim.
像是這次和特倫汗美術館一起策劃展覽。
We are lucky to be able to be
in Kunsthall Trondheim,
我們很幸運能夠在特倫汗美術館，
to be in Norway,
to see the exhibition live
在挪威，看展覽實際運行
and to be able to do the public program.
還有執行公眾活動。
There's one panel which is about plants and their capacity
to be vehicles of narratives and to tell new stories.
有一場座談是以植物來做為敘事的載具和訴說新故事的能力。
There's a panel about water, for example,
it's called Water incarnate,
也有一場座談是關於水，我們稱做水輪迴，
and without realizing it, water is becoming very present in our work
at RAW in the different collaborations we were taking part in,
在沒有特別意識到的狀態下，水經常出現在我們生物質與其他不同單位的合作之中，
bringing these discussions that are very much based on our realities in Senegal on the African continent to somewhere like Norway.
帶出的這些討論大致上反映出我們在非洲大陸塞內加爾上，還有在挪威這邊各自的現實。
I hope it will give people watching, people coming along a different lens through which to understand
我希望能帶給觀眾不同的視野
the questions that run through the exhibition.
來理解展覽中提出的問題。

## fruit narrative 水果之愛
Anna Tje, Artist
藝術家 Anna Tje
Me working with this particular food,
the safou, la prune, is because I like it.
我以非洲梨為主題創作，因為我喜歡它。
It's basically a love declaration for the fruit
and for the people who take care of it.
基本上是對這是對水果以及照料水果的人的愛的宣示。
It is quite normal within the scientific realm to describe
a tree, fruit tree or fruit flower or fruit as hermaphrodite,
在科學領域中經常描述一棵樹、果樹或花果是雌雄同體的，
which within a more politicized,
queer context will not be used,
在比較政治的酷兒脈絡中用詞不是這樣，
so then we think about different words
or a different narrative to use
因此當我們思考不同的字或不同的敘事方式
to complexify this idea of gender
from the stand point of the fruit.
由水果的視角來看複雜的性別概念。
It's a transfiguration, it's a transmutation,
it's a relationship, it's a connection
它是一種變身、變異，
一種關係，一種連結，
that creates a space to be mindful, a space to
be conscious as well of what we are doing,
創造了一個留意的空間，一個能夠清楚知道我們在做什麼的空間，
and also awareness around the agency of the fruit.
還有對水果能動力的意識。

## symbiontic togetherness 共生珊瑚
Anne Duk Hee Jordan, Artist
藝術家 Anne Duk Hee Jordan
Then you see here it's somehow
inspired by tubeworms in the sea.
你所看到的作品是受到海裡的管蟲所啟發
And then you have this big clam which
when you put a UV light in it,
而這個大蚌殼在紫外線照射下
you see a whole universe of
little symbionts and creatures
則可以看到小小生物共生的整個宇宙
who actually live inside of this clam.
它們住在這個蚌殼裡。
It's kind of like coming together or living together.
聚集在一起生活.
And those habitats, like the corals, are the best
example of how symbiotic togetherness works.
這些棲息地，像是珊瑚，是共生最好的運作方式。
And this is somehow what
you can also see in here.
而這也是你可以在這件作品裡看到的。

## we voice 我們發聲
Okwui Okpokwasili, Artist
藝術家 Okwui Okpokwasili
I've been working with my partner Peter Born,
who is working with me on this exhibit.
在這個展覽中我和夥伴 Peter Born 一起工作。
He and I have had almost a 15-year collaborative
relationship as we've been making things together.
我們的合作關係持續將近十五年了仍一直一起做東西。
And then, even in this exhibit, I'm bringing in pieces
that were built with other collaborators
這場展覽我也帶進和其他協作者共同創作的東西，
I've been working with because I've been
thinking about what is a collective voice.
因為我一直在想什麼是集體的聲音。
What is the future if it's multiples?
如果未來是複數的會是怎樣？
Do we finally let go of thinking of ourselves as one?
我們終將放下自身是單一的想法嗎？
We are "we's", never "I's" or something,
so what's that?
我們是「我們」，從來都不是「我」或其他，
那是什麼意思？
I've been working within that framework.
我持續在那個框架下工作。

## Uses of the Erotic 情慾之用
In the making of the exhibition,
the text by Audre Lorde
在展覽籌備期間，
奧黛．蘿德的著作
Uses of the Erotic:
The Erotic as Power
情慾之用：情慾做為力量
was also incredibly important.
非常的重要。
She first delivered this talk in 1978 and argued
for the importance of listening to the erotic
她在 1978 年時首次發表這段演說
強調傾聽情慾的重要性
as that power that comes
from deep within women.
作為一種源自於女人內在深層的力量。
And I should say that here in the exhibition,
we consider the term women to be
而我需要說在這檔展覽中，
我們認為女人一詞是包含了
inclusive of trans women and or anyone identifying as woman.
跨性別或是任何自我認同為女人者。
And how in listening to this power that comes from deep
within ourselves, we can actually gain a lot of strength.
聆聽這個源自於我們內在深處的聲音，事實上可以獲得許多力量。
She says that we've learned to
be suspicious of this power,
她表示，我們學會質疑這種力量，
and we've come to disregard it and argues
that we really need to rescue it
拋棄了它所以非常需要把這股力量拯救回來，
and indulge in it
and celebrate it.
然後沈醉在裡頭，
為它而慶祝。
So for the making of the exhibition, we considered what would it be like to consider erotics in the context of ecology.
因此為了製作這檔展覽，我們思考了如何以生態的脈絡來想情慾。
So really thinking about our relations to nature as erotic,
as fueled by love and by care and
真切地思考我們和自然的關係是情慾的，
由愛和關懷所驅動，
by this deep sensuality and this deep feeling within ourselves.
以及這份我們內在的深刻感覺與感受性。

---

## related links 延伸閱讀

美術館的展覽頁面
https://kunsthalltrondheim.no/en/utstillinger/sex-ecologies

展覽手冊
https://cdn.sanity.io/files/o4lylfkl/production/8c67e7b6544b03a13098549f471398d25ec78a9f.pdf

展覽專刊
和 MIT press 合作出版的專刊，有多位我所關注的學者文章。Mel Y. Chen 關於毒物、躁鬱做為行為準則的演講很精采。
https://kunsthall.mybigcommerce.com/zettle/

裡頭也收錄了策展人們為已故的黑人女同志 Audre Lorde 的經典論文 Uses of Erotic 做的批注。我之前有試著把這篇翻譯成中文，但還不是翻得很好，需要潤飾：（女書1999與貓頭鷹2022出版的《女性主義經典》有收錄過刪述過的版本） https://hackmd.io/@renyu/uses_of_erotic