威尼斯國際美術雙年展為世界歷史最悠久之藝術雙年展之一，1995年首先由北美館代表臺灣參與、籌辦台灣館，二十多年來不斷回應劇烈變化的全球藝術生態脈動，成為許多臺灣藝術家發表展陳的重要國際平台。
在歷屆籌劃過程中，本館深刻體認目前臺灣大量藝術專業的新進者，缺乏大型國際展覽實務操作機會。北美館故而於2017年首推威尼斯雙年展台灣館藝術行政人才培育計畫，報名熱烈，可見國內具國際視野、創造能量、溝通熱誠的藝術專業新進者，對於相關機會之渴望。展期間，北美館接獲許多對參訪經驗的正面回饋，來訪的觀眾藉此與台灣館產生更深的互動與交流；由現場實習生第一手收集的觀眾反饋與建議，更成為本館籌辦台灣館展覽寶貴的參考資料。
本屆台灣館將持續推行藝術行政人才培育計畫，規劃「現場導覽」實習名額四名。本館為獲選者規劃培訓課程，由藝術家鄭淑麗、策展人保羅．普雷西亞多(Paul B. Preciado)與多位資深館員，就台灣館參展沿革、本屆展覽策劃概念、藝術家創作脈絡、現場導覽實務等不同面向，傳承美術館多年累積的參展經驗。
導覽為觀眾參觀展覽時獲取策展理念、展示脈絡以及作品內涵最直接的管道，而導覽人員更是代表藝術機構、站在第一線與外界交流的關鍵角色。因此，展覽現場實習，不僅提升觀眾整體觀展經驗，更可讓有志於推廣臺灣文化、學習國際經驗的新進者有機會參與美術館貴賓接待、媒體問答、觀眾分析等工作，對於台灣館展覽及活動之長期效益深具意義。
今年本計畫獲得「中國信託文教基金會」的慨然資助，承先啟後，延續上一屆由「美術館之友聯誼會」拋磚引玉下贊助首開的人才培育機制。
Reflecting upon the transformation of surveillance techniques since the panopticon to include contemporary 3-D facial recognition, AI, and the Internet, Shu Lea Cheang’s 3x3x6 restages the rooms of the Palazzo delle Prigioni—a Venetian prison from the sixteenth century in operation until 1922—as a high-tech surveillance space. Taking as its starting point the story of libertine writer Giacomo Casanova, imprisoned in the Prigioni in 1755, Cheang has conducted in-depth studies on ten historical and contemporary cases of subjects incarcerated because of gender or sexual dissent, including Marquis de Sade and Michel Foucault, as well as contemporary cases from Taiwan and South Africa. Their fictionalized portraits become part of the exhibition’s system; the title of which refers to today’s standardized architecture of industrial imprisonment: a 3 x 3 square-meter cell constantly monitored by 6 cameras.
Cheang departs from the architecture of the panopticon to construct the central space of the exhibition in Room A: the surveillance tower has been inverted to project the portraits of the ten prisoners and connected up to a newly developed 3-D camera surveillance system, which installed at the entrance of the exhibition scans the visitors’ faces—by electing to enter the exhibition they are accepting to become part of the system and to having their face modified. Here, gender and racial morphing become queer digital strategies to disrupt the tradition of colonial and anthropometric identification techniques, extending from Alphonse Bertillon’s criminological photography of the nineteenth century to today’s facial recognition technologies. Connected to the Internet 3x3x6 allows visitors (both physical and virtual) to send selfies and images to the exhibition system. The visitors are thus inside the total surveillance apparatus. Moving into Rooms B and C of the updated Prigioni, the physical visitors then wander into a maze of monitors that unfold the stories of the ten prisoners across time and space, histories and cultures. Whereas in the eighteenth century Casanova’s libertinage and Sade’s atheist negation of morality were the object of surveillance and discipline, in contemporary technopatriarchal digital conditions, the black man constructed as “rapist,” the HIV-positive homosexual, the transgender person, as well as women constructed as sexual e-hunters and witches are the new subjects beyond the law. Finally, in Room D, visitors are invited to discover the control room and the very operating system of the surveillance apparatus in function.
Hacking digital surveillance technologies and social media, Cheang uses the site of the prison to create a real-time dissident interface that the visitor is invited to join. Involving legal documents, fake news, historical reports, myths and fantasies, as well as the data retrieved from 3-D surveillance cameras and the images uploaded by visitors, the exhibition constructs a collective counter-history of sexuality—where trans-punk- science fiction, queer, and anti-colonial imaginations provide visual and critical frameworks to think through the histories of subjection and resistance—and activates a critical proliferation of poetic and political actions for digital times. A contribution to the digital avant-garde, Cheang’s 3x3x6 equally challenges the aesthetics of Internet global capitalism and the gender, sexual, and race norms that hold up its hidden infrastructure.
普里奇歐尼宮（Palazzo delle Prigioni）是威尼斯從十六世紀起一直使用到1922年的監獄。
鄭淑麗的作品《3x3x6》將其打造為一個高科技監控空間，反思從全景監獄（panopticon），到當代3-D人臉辨識、人工智慧、網際網路等監控技術的變遷。鄭淑麗以1755年被囚禁於總督府的浪子作家賈科莫．卡薩諾瓦（Giacomo
Casanova）的故事為出發點，深入研究了十位歷史上及當代因在性別及性傾向上持有異議而遭囚禁之人的案例，包括薩德侯爵和傅柯，以及臺灣及南非的當代個案。這些人的虛構肖像成了展覽體系的一部分。而此次展覽的標題《3x3x6》有意突顯當今監獄體系的標準化建築結構：由六個攝影機監控的3x3平方公尺牢房。
鄭淑麗以全景監獄為靈感來打造A展覽室：監控塔被反轉用來投射十位囚徒的肖像；並透過展覽入口處安裝的最新3-D攝影監控系統，掃描參觀者的臉部——只要選擇參觀展覽，觀眾即接受成為展覽體系的一部分，與自己的臉被改造。在這裡，性別與種族的轉化成為酷兒數位策略，藉以對殖民及人體測量識別的傳統提出質疑——這類技法從十九世紀阿方索．貝蒂雍（Alphonse Bertillon）發明的犯罪攝影到今天的人臉辨識技術，不一而足。《3x3x6》透過網路連結，讓觀眾（包括現場觀眾和網路觀眾）可以把自拍及其他圖像傳送給展覽體系。由此，觀眾被納入了整體監控體系的內部。接下來觀眾進入升級後的普宮B展室和C展室，在這個螢幕迷宮內，講述著十位跨越時空、跨越歷史文化的囚徒生平。在十八世紀，卡薩諾瓦的浮浪和薩德對道德無神論式的否定都是監控和戒律的對象；而在當代數位化技術父權下，被認定為「性侵犯」的黑人、患有愛滋病的同性戀者、跨性別人士，以及所謂的E女巫，則成為新的法外之徒。最後，在D展室，觀眾被邀請進入控制室，探索正在運作中的監控系統。
鄭淑麗以駭客方式入侵數位監控技術和社交媒體，利用監獄場域創造了一個即時的異議界面，並邀請觀眾參與。這個作品採用了法庭文件、偽新聞、歷史報導、神話想像，以及從3-D監控錄像採集的數據，與觀眾上傳的影像，由此集體創作性的「反歷史」——在這部歷史中，跨龐克（trans-punk）科幻、酷兒，以及反殖民想像提供了視覺與批判的框架，讓我們思考征服與抵抗的歷史。同時，這個展覽批判地激發了數位時代的詩意行動及政治行動。作為對數位前衛藝術的貢獻，鄭淑麗的《3x3x6》挑戰了網際網路全球資本主義的美學標準、以及隱藏在其結構中的性別、性及種族規範。