當期展覽

我們對世界的理解，並非來自中性的觀看，而是建立在一套持續運作的辨識系統之上。命名、尺度、用途、凝視——這些看似自然的機制，構成了日常秩序的基礎。它們將事物分類、為身體定位、為行動劃界，同時也限定了想像與感知的範圍。

本次展覽「漂亮的假動作」集結許芯慈、溫佳寧（溫金金）與張程鈞三位藝術家，呈現涵蓋裝置、繪畫、攝影與雕塑等十餘件作品。在他們各自的創作實踐中，無論是面對社會中僵化的空間結構與視覺符號，還是探尋個人記憶與認知的偏差，三位藝術家皆試圖將那些理所當然的「規訓工具」進行拆解、翻轉甚至誤讀，從而在當今嚴密的社會體制縫隙中，撐開一個容納感知、幽默與批判的自由腹地。在閱讀藝術家的作品中，就如同運動場上的假動作，本能前行的途中沿著既有的規則的探索，進而在透過作品改變認知方向，使既定的預期失去穩定。

面對社會機制，張程鈞與溫佳寧分別從空間的物理結構與身體的影像層面切入。張程鈞在《河狸的桌子》中，以校園整修工程為契機，將原本直立於穿堂、用於自我審查與對齊規範的儀容鏡拆下並倒置。當凝視的立面轉為水平，鏡子不再承載檢視的功能，而成為勞動與創作的平面；權力的方向隨之被重新安排。

溫佳寧將目光轉向大眾媒體對性別與身體的刻畫。她以黑色幽默與錯置的敘事，使畫面中的人體變形、解體與重組。這些不穩定、流動的形象，使凝視失去固定對象，也使身份不再依附於單一形式。身體在此既被觀看，也重新奪回觀看的主導權。

另外，許芯慈則是由認知結構出發，探問想像與理解的邊界。〈錨點〉中帶有格線的稿紙摺盒，將在規範內建構想像的條件具象化；〈一顆像鳥的石頭〉與〈索引〉則透過材質轉換與視覺模糊，指出命名與指認如何引導我們理解事物。透過在複製與辨識過程中製造誤差，她使觀看本身成為可被檢視的對象。

三位藝術家的實踐在不同層面上回應同一個問題：當世界被預設為可辨識、可使用與可分類時，是否仍存在偏移的空間？那些刻意製造的誤差、形體的失準與功能的移位，使規範不再穩固如常。正是這些不妥協的動作與破綻，成為我們跳脫規訓、拾回感知主體的機會。展覽「漂亮的假動作」期待能在規範之內進行的改寫與重置——一種精準而優雅的偏移。

策展團隊｜吳依宣、曾彥翔

視覺設計｜吳依宣

漂亮的假動作
A Beautiful Fleint

Our comprehension of the world is never a neutral act of seeing; rather, it is predicated upon an ever-active regime of recognition. Naming, scale, utility, and the gaze—these seemingly innate mechanisms form the very scaffolding of our daily order. They categorise objects, position bodies, and demarcate actions, while simultaneously circumscribing the horizons of our imagination and perception.

The exhibition ‘A Beautiful Feint’ brings together three artists—Juitsz Shiu, Wen Gum Gum, and Chengchun Chang—presenting over ten works spanning installation, painting, photography, and sculpture. Throughout their individual practices, whether confronting rigid spatial structures and visual systems or exploring the slippages of personal memory and cognition, the artists seek to dismantle, invert, or even misread these ‘tools of discipline’ we take for granted. Through these interventions, they carve out a liminal space for perception, humour, and critique within the dense fabric of contemporary social systems. Engaging with their work is akin to witnessing a feint on the athletic field: an exploration that initially appears to follow established rules, only to abruptly pivot, shifting the direction of our perception and destabilising fixed expectations.

Addressing social mechanisms through physical and corporeal lenses, Chengchun Chang and Wen Gum Gum offer distinct interventions. In Beaver’s Table, Chang takes the renovation of a campus as his point of departure, removing and inverting the full-length mirrors originally stationed in the lobby for self-scrutiny and the alignment of conduct. As the vertical plane of the gaze is turned horizontal, the mirror ceases to be a tool of surveillance; instead, it becomes a surface for labour and creation. Consequently, the vectors of power are rearranged.

Wen Gum Gum redirects our focus towards the depiction of gender and the body in mass media. Utilising black humour and displaced narratives, she allows the human form to undergo deformation, disintegration, and reassembly. These unstable, fluid images deprive the gaze of a fixed subject, ensuring that identity is no longer tethered to a singular form. Here, the body is not merely watched; it reclaims the agency of the spectatorial agency.

Meanwhile, Juitsz Shiu begins with cognitive structures, interrogating the boundaries between imagination and understanding. In Anchor Point, folded boxes made of gridded manuscript paper materialise the conditions through which imagination is constructed within regulation. Conversely, A Stone That Looks Like a Bird and Index employ material transformation and visual blurring to illustrate how naming and identification dictate our grasp of reality. By inducing ‘errors’ in the process of replication and recognition, she renders the act of looking itself an object of scrutiny.

The practices of these three artists converge on an urgent inquiry: in a world presupposed to be identifiable, utilitarian, and classified, does there remain room for deviation? These deliberate errors, formal misalignments, and functional displacements ensure that norms are no longer as stable as they seem. It is precisely through these uncompromising movements and fissures that we find the opportunity to bypass discipline and reclaim our status as perceiving subjects. ‘A Beautiful Feint’ invites a rewriting and resetting from within the rules—a restrained, precise, and elegant deviation.

Curatorial Team｜Sara Wu, Sean Tseng

Visual Design｜Sara Wu