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瘟疫的慢性處方

Interminable Prescriptions for the Plague

 

 

 展覽時間

2019 / 10 / 05 Sat.-2019 / 12 / 01 Sun.

展覽地點

臺北當代藝術館 MOCA Cube、廣場、電視牆,及一樓大廳

策展人

劉仁凱 Kairon Liu

 

展覽簡介

 

一九〇八年某日,非洲喀麥隆東南部地區的叢林裡有位獵人,或許是為了向部落證明自己,亦或是為了養家糊口,他參照著後世推估最可能的劇本,在獵捕的過程中因黑猩猩的反抗而受傷。那道傷深及肌膜,但獵人並沒有進行處理,血液傳染疾病的概念在二十世紀初並不存在,而他在宰殺獵物時也絲毫不介意自己的傷口混入了黑猩猩血液。就這樣隨著時間的推進,猴免疫缺陷病毒(Simian Immunodeficiency Virus, SIV)在新宿主內適應、進化、走向興旺昌盛。SIV滲透各種人類接觸網路、依循際遇入侵人類社群,它不再是一種黑猩猩病毒,而是以人類免疫缺乏病毒(Human Immunodeficiency Virus, HIV)的新樣貌在八〇年代向世人揭示自己的存在,以及後工業社會自稱對少數與弱勢寬容同情的虛假,道德譴責者將其視為上天派遣的瘟疫,專屬於個人或群體的報應。

二十一世紀,遵循民主式公共衛生的教育策略,公民採取自我保護措施、避免落入父權及專制,將乳膠避孕套做為掩護,以實現自由與理想。疾病持有者懼怕「多疑的社會」迫使自己身份暴露,而有了超出生理的心理病痛,健康彷彿成了德性的證明,疾病被視作為墮落的證據,既使再多研究及當權者公開論述「疾病只是疾病,而不屬於任一群體」,相關的隱喻及污名卻從未停止,人類免疫缺乏病毒(Human Immunodeficiency Virus, HIV)感染者遵照醫囑所持續服用的抗病毒處方藥,在維繫生命的同時也作為其與污名共生的提醒,時刻觸發而孤立。醫學史學家羅伊・波特(Roy Porter)曾宣告「發生性行為不必負責任的日子結束了」,在所有公民皆視自身為單一血清個體的如今,無論感染與否,所有人似乎都對這場有感的「瘟疫」產出了一套與之共處的「慢性處方」。本展覽由台北當代藝術館與社團法人臺灣感染誌協會共同主辦,由《宿主計畫(Humans as Hosts)》計畫主持人劉仁凱進行策劃,並與台灣數個HIV(愛滋)倡議機構與團隊共同合作,邀請國內外藝術家、研究者於該議題中進行探索及揭露。以MOCA Cube、廣場、電視牆及大廳為實驗場域,以多元展演活動解析展題,企圖以藝術跨越疾病,與參與民眾協同建立雙向交流平台;展覽閉幕將於世界愛滋日(十二月一日)發生,在對話、致敬與歡慶中落幕。One day in 1908, there was a hunter in the jungle of south-east Cameroon, Africa. Following a script that later generations may only imagine, his hunt was the way he proved himself to the tribe and provided for his family. During the hunt, he was hurt by a resistant chimpanzee. Although the wound broke deep to the sarcolemma, the hunter didn’t deal with it. At the beginning of the 20th century, the concept of blood-borne disease didn’t exist. The hunter had no cause for worry at all that the chimpanzee’s blood could likely sneak into his wound. As time went by, SIV (simian immunodeficiency virus) thrived as it adapted and evolved within the new host. Following its natural course, the virus penetrated various kinds of interpersonal contact networks and invaded the community. It was no longer a chimpanzee’s SIV. During the 1980s once this novel virus emerged as HIV (human immunodeficiency virus), it exposed the hypocrisy of postindustrial society’s purported claim to have compassion for minority and underprivileged groups. Moral condemners regarded the emerging epidemic like the plague sent by god—the punishment designed for individuals or groups who disobeyed their moral responsibilities.In the 21st century, contemporary public health education campaigns follow the democratic model. The latex condom has become a cover-up for self-protection against patriarchy and autocracy to fulfill freedom and ideals. Disease carriers in a “society of suspicion” fear that their identities will be disclosed by force and suffer more psychologically than physically, because healthiness is perceived somehow as the proof of morality, while disease as the proof of corruption. No matter how many studies and those in power publicly state that “a disease is just a disease and does not belong to any group,” the related metaphor and stigma never end. To maintain life, people infected with HIV follow the doctor’s advice and take their prescription continuously. While sustaining life, it triggers a daily reminder they must coexist with the stain of a virus the world still regards as a kind of moral failure, thus causes isolation. As the medical historian Roy Porter once announced: “The days of sex without responsibility were over.” Infected or not, since each citizen treats themselves as one serological monad, it seems that everyone comes up with their own “prescription” in coexistence with this perceptible plague.

 

 

展覽相關活動

 
【放映與系列座談】《體液∅》放映暨映後座談

活動地點:當代館一樓活動大廳
活動時間:2019/11/30 Sat. 14:00 - 17:00

【閉幕式】仍在開始中:瘟疫的慢性處方閉幕聚談

活動地點:當代館一樓活動大廳/當代館戶外廣場

活動時間:2019 / 12 / 01 Sun. 13:00 - 18:00

 

 

 

 


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