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.
Charged with numerous allegations of sexual abuse, deviance, sodomy, and blasphemy; incarcerated in French prisons for more than thirty-two years of his life.
Woman sentenced to life imprisonment–with the possibility of parole after seven years–in 2013 for cutting off her husband’s penis and throwing it into a garbage disposal unit.
From China’s post-1995 generation, sentenced to four years in prison; charged with manufacturing and disseminating obscene articles on social media for profit in 2016.
Arrested for soliciting gay men to have chemsex via social networks; sentenced to twelve years in prison for knowingly spreading the HIV virus and endangering others.
Transgender person accused in the 2010s of having sex with a woman without revealing his gender status; sentenced to six years of prison for sexual assault. This legal charge is known as “rape by deception.”
Arrested in Venice in 1755 and jailed at the Piombi; accused with an undetermined charge, likely a combination of corruption, indecency, and public outrage. He managed to escape in 1756.
Muslim scholar arrested for alleged sexual assault and rape in 2018; detained for ten months in solitary confinement in a prison near Paris.
Man who agreed by contract to eat another man after having sex and slaughtering him; they had met in an Internet cannibal café. He was convicted of murder and sentenced to life imprisonment in Germany in 2006.
Three women from Gweru held at Harare’s Chikurubi Maximum Security Prison in December 2011 for alleged raping, harvesting, and selling men’s semen. Further cases of female sperm bandits have been reported more recently in Zimbabwe and South Africa.
Investigated for homosexual conduct by the Polish police in 1959 while serving as director of the Centre Français at the University of Warsaw; incarcerated for an unknown period of time.
Shu Lea Cheang is an artist and filmmaker working with various art mediums and film formats, including installation, performance, net art, public art, video installation, feature length film, and mobile web series. Her artistic pursuits demonstrate an imagination and the desire to cross the boundaries of society, geography, politics, and economic structures, thus redefining genders, roles, mechanisms, etc. As a net art pioneer, her BRANDON (1998–99) was the first web art commissioned and collected by the Solomon R. Guggenheim Museum in New York. From homesteading cyberspace in the 1990s to her current retreat to the post-netcrash BioNet zone, Cheang takes on viral love and bio hacks in her current cycle of works, including UKI (2009–ongoing) and UNBORN0x9 (2019). (http://mauvaiscontact.info)。
Paul B. Preciado is a writer, philosopher, curator, and one of the leading thinkers in the study of gender and sexual politics. An honors graduate and Fulbright fellow, he earned a MA in Philosophy and Gender Theory at the New School for Social Research in New York and a PhD in Philosophy and Theory of Architecture from Princeton University. From 2014 to 2017 he was Curator of Public Programs of documenta 14 (Athens / Kassel). He is the author of Countersexual Manifesto (Columbia University Press, repr., 2018), Testo Junkie: Sex, Drugs, and Biopolitics in the Pharmacopornographic Era (Feminist Press, 2013), and Pornotopia (Zone Books, 2014) for which he was awarded the Prix Sade. He is currently Associate Philosopher of the Centre Georges Pompidou, Paris. His latest book is titled An Apartment on Uranus (Grasset / Anagrama, 2019).
Founded in 1983, Taipei Fine Arts Museum is Taiwan’s first museum of modern and contemporary art, and among one of the oldest in Asia. Venturing into its 35th year, TFAM has dedicated itself to the development of modern art in Taiwan while staying abreast of ongoing trends in contemporary arts. It has pioneered the biennial trends for the region and overseen the operations of the Taipei Biennial since 1998, and the planning for Taiwan’s representation as a collateral event at the Venice Biennale since 1995. In recent years, Taiwanese artists and art institutions have elevated their participation in the global art community, generating a more refined and complex network of connections. For this reason, the nominating committee employed a greater level of strategic thinking, coloring their artist recommendations with stronger overtones of global strategy. https://www.tfam.museum
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。