「正常與非常」揭示著身體與環境的格不相入；因此我們動身、觸及他人，持續經驗「移動與棲居」；「酷異與結盟」則作為信仰與解方，共生、共情、共社。
"Typical and Atypical" reveals the dissonance between our bodies and the world around us; thus, we move, reach out to others, and continue to experience "Mobility and Dwelling." In this way, "Queerness and Coalition" becomes both belief and response—a call for coexistence, empathy, and assemblage.
由「酷異與結盟」理解世界 Understanding the world through “Queerness and Coalition”
Run Girls
2024｜數位印刷，300*370毫米 digital printing, 300*370mm
姚潔希 Jiesi
現居倫敦的時尚藝術指導（fashion art direction），Jiesi 長期觀察女性消費市場，從而發展以女性主義為題的系列攝影集《Run Girls》。此系列透過服裝造型與場景設定，選材從蕾絲過渡到龐克，以視覺方式直接呈現女性形象、消費認同（consumption identity）的蛻變，同時隱喻在父權社會中女性對自我意識的覺醒與抗爭。
作品描述在傳統、男性主導的社會中，一位年輕女孩從天真、被掌控的角色，隨著時序推移，她逐漸發現內在的自我與反叛的精神，決心開始逃離，展開一段自我覺醒的旅程。
Currently based in London, Jiesi specializes in fashion art direction and has long observed the women’s consumer market. From this ongoing observation, she developed Run Girls, a photography series exploring feminist themes. Through styling and scene design, the project visually traces the transformation of female imagery and consumption identity—transitioning from delicate lace to bold punk aesthetics—as a metaphor for women’s awakening and resistance in a patriarchal society.
Set in a traditional, male-dominated context, the series portrays a young girl who begins as innocent and controlled. As time passes, she gradually discovers her inner self and rebellious spirit. Determined to break free, she embarks on a journey of self-awakening.
變 metamorphosis 態
2023-2024｜現地製作裝置（衣架、跑馬燈），尺寸因場地而定 site-specific installation (clothes hanger and LED ticker), dimension variable
黃書亞 Joshua
《變metamorphosis態》系列作從個人同志與基督徒身份的衝突經驗展開，揭露如此不斷變異、互斥的身份狀態。
創作啟發自《賽伯格宣言》，強調透過「結盟」和「親近性」來建構身分，而非追求單一的固定認同，形成一種更為開放而動態的身份狀態。其中作品將「視覺設計」作為賽伯格技術的實踐方法，結合平面設計、藝術裝置和動態影像等媒材。在符號學的基礎上，錯亂人們對日常尺度、材質和功能性的既有認知，在內容與形式之間進行實驗，呈現出個體慾望和社會框架之間不相容的關係。
"Metamorphosis" begins with the conflicting experiences of being both queer and Christian, revealing an identity that is constantly shifting and mutually exclusive. The work draws inspiration from "A Cyborg Manifesto," emphasizing identity construction through "coalition" and "proximities," rather than pursuing a singular, fixed identity. This creates a more open and dynamic state of being.
The work uses "visual design" as a means of practicing cyborg technology, integrating graphic design, art installations, and moving images. Based on semiotics, it disrupts conventional understandings of scale, material, and functionality, experimenting between content and form to depict the inherent tension between individual desires and social frameworks.
小誌 Zine＞
變 metamorphosis 態
2025｜小誌，100*100毫米 zine, 100*100mm
黃書亞 Joshua
《變metamorphosis態》是一次身分與符號的任性實驗。本書以同志與基督徒的認同衝突為起點，延續2024年7月於臺北舉辦的《變metamorphosis態 展》，解構既有符號與觀點，重新拼接出矛盾卻真實的身分敘事。
全書穿梭於現實與虛構、混亂與秩序、結盟與離散之間。隨著每一頁的翻動，透片內頁的圖像相互疊加與排列，並可透過五金構件自由拆卸和調整內頁佈局，重新組合出多樣且未知的視覺效果。以此手法具象化個體在混沌中的追尋，帶領讀者進入一場無止境的變態。
"Metamorphosis" is a bold experiment in identity and symbolism. This book begins with the conflicting experiences of being both queer and Christian, extending the exploration of the "Metamorphosis Exhibition" held in Taipei this past July. It deconstructs established symbols and perspectives, reconstructing a narrative of identity that is both contradictory and authentic.
The book navigates between reality and fiction, chaos and order, coalition and disjunction. As each page is turned, the translucent images stack, align, and shift, while the metal components can be freely disassembled and repositioned to modify the page layout. This creates diverse and unpredictable visual effects, embodying the individual's pursuit through chaos and leading the reader into an endless metamorphosis.
你從天空奪走我的藍 2024
I'm Deprived of the Blue 2024
2024｜透明畫布、防水塗料，200*230公分 waterproof coating on transparent fabric, 200*230cm
王冠鈞、社會化不完全 Champion, Unsocia1
源自2019-2021年聯覺共振計畫《你從天空奪走我的藍》，系列創作藉以虛假指控色覺辨認障礙的定義者約翰·道爾頓（John Dalton），親筆紀實自身得知病情所逐步形成的抗拒與不釋懷，以及後期自我療傷的過程，同時回溯檢視如此不服從的意識狀態。
於2024年《社會化不完全：在家裡的聯展》中，邀請6位夥伴尋思天空中的顏色，共同追憶2019年時所遺失的缺憾，並繪製布旗懸掛至房屋頂樓，回應始終無法辨認的天空色彩，也試圖揚起經時序推進而改變的信念。
In response to the 2019-2021 Synesthesia Project "I'm Deprived of the Blue", this series of works presents a fictitious indictment of John Dalton, the figure who defined color vision deficiency. Through these works, I document my evolving resistance and lingering discontent upon learning of my condition, as well as the process of self-healing. Simultaneously, the works reflect on this state of defiant consciousness.
For the 2024 Unsocia1: Group Exhibition at Home, I invited six collaborators to contemplate the colors of the sky, collectively recalling the sense of loss experienced in 2019. Together, we painted fabric banners and hung them on rooftops, attempting to raise and release beliefs that had shifted with the passage of time.
小誌 Zine＞
幼稚、白目、不務正業！——我們是社會化不完全
Childish, shameless, and totally off the rails — that’s us, Unsocia1!
2024-2025｜小誌（書盒內含7本） the box set includes 7 zines
社會化不完全 Unsocia1
驚喜書盒內含7本小誌，收錄自2024年12月至2025年1月《社會化不完全——在家裡ㄉ聯展》展覽的各個作品計畫，以下為每本小誌的創作概念：
The surprise box set includes 7 zines, each documenting a project from the exhibition Unsocia1: Our At-Home Exhibition, held from December 2024 to January 2025. Below are the creative concepts behind each zine:
楊子怡 Parker Yang｜小小的小事 Tiny little things
潘洛均 Lochun｜羅春の夢／羅春の做夢練習 Lochun の Dream/ Lochun の Dreaming Practice
張育寧 Chang Yu-Ning｜家裡的小調皮 The naughtiest in the house
王冠鈞 Champion｜色覺 Color Vision
陳畇湘 Yun｜聲音日記 Sound Diary
李怡萱 Sandy Li｜桌面之間，秩序之外 Between Desktops, Beyond Order
楊翊 Yi｜散山 Stranger like me
羅春の夢／羅春の做夢練習
Lochun の Dream/ Lochun の Dreaming Practice
Lochun の Dream/ Lochun の Dreaming Practice
潘洛均 Lochun
清醒著做夢的少女 The girl who dreams while awake
我經常會日有所思、夜有所夢。尤其是生活壓力很大的時候，晚上睡覺時經常會夢到白天在做的事情。希望可以做個美夢。
Recently, I dream about stressful things that happen during the daytime. I wish I could have a beautiful dream.
小小的小事
Tiny little things
Tiny little things
楊子怡 Parker Yang
沉浸在小世界的貓咪 The cat immersed in its little world
生活中不經意發現的小事或某個時刻片段，總可以在我的記憶中存放許久，但也可能是我自己不想忘記。
從小所受的教育使我害怕犯錯，養成逃避的習慣，當我背向這些只有對錯的體制時，能夠看見那些不在框架中的小事就好像某種慰藉。大學時期創作的角色—貓代表我，在這裡牠作為我的替身，演繹這些小事。在替身後面的我則相對安全許多，感覺少了些壓力。這些不成熟、逃避、紀錄無意義的小事，描繪的就是社會化不完全的我。
從小所受的教育使我害怕犯錯，養成逃避的習慣，當我背向這些只有對錯的體制時，能夠看見那些不在框架中的小事就好像某種慰藉。大學時期創作的角色—貓代表我，在這裡牠作為我的替身，演繹這些小事。在替身後面的我則相對安全許多，感覺少了些壓力。這些不成熟、逃避、紀錄無意義的小事，描繪的就是社會化不完全的我。
I unintentionally notice little things or fleeting moments in life that stay in my memory for a long time. But maybe I just don’t want to forget them.
I grew up with an education that made me fear making mistakes, shaping a habit of avoidance. When I turn away from these rigid systems, noticing the little things beyond the framework feels like a kind of comfort. The character I created during my uni years—a cat—represents me. It serves as my avatar, reenacting these little moments. Behind it, I feel much safer and less pressured. These immature, avoidant, and seemingly meaningless records of small things depict a version of me that is not fully socialized.
I grew up with an education that made me fear making mistakes, shaping a habit of avoidance. When I turn away from these rigid systems, noticing the little things beyond the framework feels like a kind of comfort. The character I created during my uni years—a cat—represents me. It serves as my avatar, reenacting these little moments. Behind it, I feel much safer and less pressured. These immature, avoidant, and seemingly meaningless records of small things depict a version of me that is not fully socialized.
家裡的小調皮
The naughtiest in the house
張育寧 Chang Yu-Ning
在家四處搗蛋的調皮鬼 The scamp spreading laughter at home
創作者育寧在這次的聯展中，將自己扮演成「小調皮」（the Naughtiest）的角色，回應和修復自身因為經童年情感創傷所造成的人際疏離和述情障礙。工作坊中，「小調皮」帶領家人們用身體沾染顏料塗抹於畫紙上成為客廳的地墊。平時在屋內，「小調皮」漫遊在家裡的各個角落，以透明媒材史萊姆及注音書寫日記、並用貼紙、著色本和家人們及前來的小客人一起玩，作為修復關係、表達情感的練習。
In this group exhibition, Yu-Ning takes on the role of "the Naughtiest" to respond to and heal from interpersonal detachment and alexithymia caused by childhood emotional trauma. During the workshop, "the Naughtiest" invited family members to dip their bodies in paint and press them onto paper, creating a living room floor mat together.At home, "the Naughtiest" roams freely through the space, keeping a journal using slime and Zhuyin (Mandarin phonetic symbols) on transparent materials. Through activities like playing with stickers, coloring books, and spending time with family members and visiting guests, they practice expressing emotions and rebuilding relationships.
色覺
Color Vision
Color Vision
王冠鈞 Champion
看不到真實色彩的變異人 The mutant who cannot see the true colors
聯覺共振計畫4.0之計畫型創作系列。《色覺》取材自常態／非常態三色視者的色感經驗，試圖擬仿感光細胞作用之差異，並以三章主題篇幅「地景 Landscape」、「景色 Photoreceptor」、「情景 Lebenswelt」展開，收納起經諸多聯覺體驗所紀錄相異的世界景象，逐步形構一個色覺資料庫。
The fourth phase of Synesthesia project, Color Vision, draws on the color perception experiences of both typical and atypical trichromats. It attempts to simulate the variations in photoreceptor functions and unfolds in three thematic chapters: “Landscape,” “Photoreceptor,” and “Lebenswelt.” Through these chapters, the work collects diverse worldviews recorded through synesthetic experiences, gradually constructing a comprehensive color vision database.
聲音日記
Sound Diary
Sound Diary
陳畇湘 Yun
以聲音書寫日常的演奏者 The performer who writes the everyday in soun
嗨～大家好，我是畇湘。一名患有音樂家肌張力異常的單簧管演奏者，曾經的夢想是成為一位能夠悠遊於舞台的演奏家。我的生活不是在琴房，就是在練琴的路上。肌張力異常的發生，打亂了我十年如一日的一切。然而，伴隨而來的失序、失重、失根，也開啟了某種旅程。如果說創作作為靠近自己的一種方法，或許能拼湊些什麼吧......
Hiiii, It’s Yun. A clarinet player with a rare symptom, called Musician’s Dystonia. I had a dream about becoming a professional musician before Dystonia happened. My life revolved around the practice room, I was either in it or on my way to it. Dystonia teared me and my life off.
However, the loss of order, gravity, and roots also marked the beginning of a new journey. If creation is a way to get closer to myself, perhaps I can piece something together through it..
However, the loss of order, gravity, and roots also marked the beginning of a new journey. If creation is a way to get closer to myself, perhaps I can piece something together through it..
桌面之間，秩序之外
Between Desktops, Beyond Order
Between Desktops, Beyond Order
李怡萱 Sandy Li
觀測旁人行跡差異的建模師 The modeler observing the differences in others' paths
「桌子」作為一個象徵性的場域，既承載了個體行為的真實痕跡，也隱喻了群體社交中的秩序與差異。通過材質的轉換、物件的移動與軌跡，顯現出每個人的獨有特質。
The table, as a symbolic space, not only bears the tangible traces of individual actions but also serves as a metaphor for order and difference within social interactions. Through transformations in material, the movement of objects, and their trajectories, the unique characteristics of each person become apparent.
散山
Stranger like me
Stranger like me
楊翊 Yi
流離於森林與城市間的浪客 The wanderer roaming between the forest and the city
這是一些匯集在工作路上的採集，那些關於尋找採集勞拉（Laura）屍體的故事，是片段構築而成，關於森林裡隱沒的群體，一座無人知曉的木屋，歷史排除的經驗與敘事，在那些遠的山脈邊陲移動著，遊蕩著，關於閱讀著那些勞動力的，如存在般消失，如消失般存在。
These are fragments collected along the path of work, stories about the search for the body of the collector, Laura. They speak of hidden groups in the forest, an unknown cabin, experiences and narratives erased by history, drifting and wandering on the far edges of distant mountains, reading about the labor force, existing as if fading away, fading away as if existing.
