ART BASEL HONG KONG 2026 林安琪：親界 Ciwas Tahos: Kindom

策展人／邱上源
展覽名稱「親界」（Kindom）這個詞彙的詞義，結合了多物種女性主義理論家唐娜．哈洛威（Donna Haraway）所描述的「造親」（making kin）、生物分類學中作為高階級別的「界」（kingdom），以及主權自決場域的「領土／王國」（kingdom）三者的意涵。展覽「親界」是臺灣泰雅族原住民藝術家林安琪（Ciwas Tahos）首次的藝博會個展呈現，將展出她近期持續進行的《找尋迭瑪哈霍伊的路徑》（Finding Pathways to Temahahoi）系列精選新作。這個系列取材於一則泰雅族寓言：一群酷兒女性隱居者以煙霧為食並與蜜蜂溝通。林安琪透過召喚女性主義烏托邦「Temahahoi」的精神，探討酷兒社群性與生態學的交融，從而提出一種酷兒身份轉化（queer becoming）的可能性——這種轉變和生成奠基於愉悅，並根植於人類與非人類之間的團結。

在泰雅族的「Temahahoi」寓言中，一群隱居的女性曾深居在臺灣的山區之中。她們能和蜜蜂溝通、以煙霧和霧氣為食，並憑藉著森林裡吹拂的風而懷孕。這些女性是酷兒的先驅者，遠在「酷兒」的概念傳入這座島嶼之前，她們就已致力於多物種的共存。「Temahahoi」的故事如同一個錨點，驅動著藝術家林安琪對抗異性戀常規世界、探求替代路徑的興趣，並成為林安琪探究酷兒身份和原住民性的基石象徵。林安琪將自己的身體作為媒介，追溯語言和文化經驗中的流離失所，藉此開闢通往理解、記憶和串起聯繫的新途徑。透過表演和標記的動作，林安琪試圖開闢出一條途徑，通往「Temahahoi」這個既古老又嶄新的烏托邦。藝術家的舉動同時也是一則強而有力的象徵，指向酷兒和原住民在熟悉卻被陌生及不友善人群佔領的土地上，尋求庇護的歷程。

對於那些將自然視為本質上酷兒的社群而言，林安琪目前正進行的《找尋迭瑪哈霍伊的路徑》（Finding Pathways to Temahahoi）系列（2020年至今），不僅是進行意義理解的核心依據，也是為人類和非人類所遭受的歷史不公義，尋求補償可能性的路徑探尋。在作品《她可能來至__社》（Perhaps, She Comes From/To ____ Alang, 2020）中，一部雙頻道錄像提出了作為關鍵物種的蜜蜂死亡，與原住民社群在遭受殖民和帝國主義影響後所經歷的不孕症之間存在著連結。這部作品將身體與土地之間緊密的關係拉入更近的視野，並揭示了在經歷了流離失所後，對歸屬感的渴望。與此同時，在複合媒材裝置《Pswagi Temahahoi》（2022）中，「Pswagi」——即泰雅族傳統的「光影判讀」（light-reading）環境知識——成為了一個關鍵的方式；藝術家試圖透過描繪原生蜜蜂（隱藏之地的傳統守護者）所行經的路徑來找尋「Temahahoi」。

該件作品的新版本已於沙迦雙年展（Sharjah Biennial）、夏威夷三年展（Hawai’i Triennial）、斯泰倫博斯三年展（Stellenbosch Triennale）和第十五屆卡塞爾文獻展（Documenta 15）等地展出。在本次推出的個展中，藝術家將「親界」（kinship）的概念與「王國／界」（kingdom）的概念進行疊合。「親界」是一種為多物種共存尋求正義的重要關係性原則，而「王國／界」則同時指涉生物分類學中的術語，和具有自主主權的政治實體。「親界」（KINDOM）標誌著林安琪將自身的探索，首次延伸到當代藝術博覽會的空間。它邀請觀眾思考：在一個日益不宜居的世界中，我們該如何定位自己，以及在我們集體尋求庇護所的過程中，我們將會遇到誰、又與什麼人事物同行——這個庇護所必須足夠寬大，同時容納我們所認識和我們所熱愛的世界。

Curator/ Alfonse Chiu
In the Atayal folk tale of Temahahoi, a reclusive group of women once lived deep within the mountains of Taiwan. Communicating with bees, feasting on smoke and fog, and getting pregnant by gusts of winds that blew through the woods, these women were queer pioneers invested in multi-species co-existence from far before the notion of queerness even made it onto the island. Anchoring artist Ciwas Tahos' interest in finding alternates to and countering the heteronormative world, the story of the Temahahoi has served as a keystone of emblematic of Tahos' recent investigation into queerness and indigeneity through using her body as a vessel to trace linguistic and cultural experiences of displacement, so as to open pathways toward new ways of understanding, remembering, and relating. Through performances and mark-making, Tahos' attempts at locating a path to a old new Temahahoi is also a potent metaphor for the search for refuge undertaken by queer and indigenous people on familiar land overran with unfamiliar and unfriendly people.

For communities that understand nature as fundamentally queer, Tahos' current body of work 'Finding Pathways to Temahahoi' (2020–ongoing) serves as a touchstone in not just sense-making but also way-finding for possibilities of remediating historical injustices committed against human and non-humans alike: in 'Perhaps, She Comes From/To ____ Alang' (2020), a two-channel video proposes a connection between the death of bees that serve as keystone species and the infertility experienced by indigenous communities after exposure to colonial and imperial matters, drawing the intimate relations between bodies and lands into closer view, and exposing the desire for belonging in the wake of displacement. Meanwhile, in the later mixed media installation 'Pswagi Temahahoi' (2022), traditional environmental knowledge in the form of pswagi or Atayal light-reading emerges as a technique central to an effort to find Temahahoi by mapping the paths taken by native bees—the traditional guardians of the hidden land.

Previously staged in institutional contexts including the current Sharjah Biennial, Hawai’i Triennial, Stellenbosch Triennale, and Documenta 15, this new iteration of Tahos’ work superimposes the concept of kinship, a principle of relationality that is crucial to seeking justice for multi-species co-existence against the concept of kingdom as both a term in biological taxonomy and a polity marked by sovereignty over itself. Marking the first extrusion of Tahos' investigation into the space of a contemporary art fair, 'KINDOM’ is an invitation for audience members to consider how we may locate ourselves in an increasingly inhospitable world as well as who and what we may encounter and accompany in our collective search for a sanctuary, big enough for both the world we know and the world we love.