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• 展期：2025.9.20 — 11.16，2:00pm - 8:00pm，週三至日
• 地點：立方計劃空間
• 策展人：陳泓易
• 主題藝術家：劉吉雄
• 特邀藝術家：黎盈、李培徽、李元平、舒楠德、鄒鳳庭、劉建偉、張建盛、王弼正
詳情請至官網：
https://thecubespace.com/project/virtuality-embodied/
立方計劃空間榮幸與講美難民檔案協會合作於2025年9月20日起舉辦展覽「虛擬生肉」的台北巡迴展。由陳泓易策展，劉吉雄擔任主題藝術家的「虛擬生肉」之前曾於高雄市立美術館展出，台北巡展將以較為精簡的方式呈現。
「虛擬生肉」展覽起源於紀錄片與VR導演劉吉雄在1995年的夢境。2003年他首次拍攝，之後經過十年的無知與空白，2013年起陸續發展出紀錄片、實驗電影、VR電影與VR博物館計畫（2012-2025）。這檔展覽首次將這些不同版本與多種形式的作品匯整在一起，呈現一段從「不知道不知道什麼」到「知道不知道什麼」的探索歷程。作品邀請觀眾一起重拾那些被害怕遺忘、被害怕記得的片段——可見與不可見的記憶，漂流在半島與大海之間。
展覽同時呈現與澎湖難民營相關的珍貴作品，其中包括越南音樂家黎盈（Lê Dinh, 1934-2020）於 1978年在營區創作的〈無家可歸者的情歌〉；加拿大記者舒楠德（Jules Nadeau）與越南裔攝影師李培徽的攝影作品；以及《南海血淚》（1978）作者李元平的影像口述。
▌策展論述
（文/陳泓易）
虛擬生肉——如何建構真實
本展覽以「虛擬」（VR）為核心，企圖以此反思「虛擬」（VR）的多重意涵，而「生肉」的概念來自於身體哲學incarnation的詮釋，在字面上，incarnation就是從抽象概念賦予「肉體」。
導演劉吉雄在夢境中得知一個位於澎湖的難民營將被拆除，於是他親赴現場，還來不及做研究調查與記錄，難民營就消失了，從此開始一段至今長達二十多年，由檔案出發，重建這個難民營的拼湊還原過程。
劉吉雄的創作夾雜紀錄片的寫實拍攝和虛擬實境的建構，從夢境的虛擬，難民營從真實到消失成為虛擬，以及重構事件的過程，讓整個發展從虛擬到真實之間反覆循環論證出某種詩意。
這個曾經存在澎湖的難民營卻不被台灣以外的任何機構承認——特別是聯合國難民署。因此今天這個難民營可以說是一個在紀錄「歷史」上「不存在」的事件。此事件本身更是一個真實事件被政治虛擬化的荒謬吊詭，而藝術家努力將此被虛擬化的真實還原，並且以虛擬的媒體技術呈現成為一個藝術展覽。
「真正的歷史對象根本就不是對象，而是自己和他者的統一體，或一種關係。在這樣關係中同時存在著歷史的實在以及歷史理解的實在。」這是詮釋學解釋的歷史，認為歷史不是可被如實重現的客體，而更是在文本中不斷被延異的一種存在。
我們一直說台灣好像是個亞細亞的孤兒，但劉吉雄認為：我們除了是孤兒，可能還是難民。
一種被延異的難民。
主視覺攝影｜劉吉雄
道具設計｜陳亦竺
書法｜本騷伊明
英譯｜戚育瑄、林書全
主視覺設計｜黃子恆
主辦單位｜立方計劃空間、講美難民檔案協會
協辦單位｜印樣電影製作有限公司、公共電視、洪建全基金會、財團法人法律扶助基金會
贊助單位｜國家文化藝術基金會
＊立方計劃空間由國藝會、台北市文化局、陸府生活美學教育基金會、陳泊文先生等贊助營運
• Dates: 20 September – 16 November 2025, 2:00 PM – 8:00 PM, Wednesday to Sunday
• Venue: TheCube Project Space
• Curator: CHEN Hung Yi
• Featuring Artist: Asio LIU Chihsiung
• Guest Artists: Lê Dinh, LI Pei-Hui, LI Yuan-Ping, Jules NADEAU, Feng-Ting TSOU, Awei LIU, Jason CHANG, WANG Pi-Cheng
*More information:
https://thecubespace.com/en/project/virtuality-embodied-en/
TheCube Project Space is honored to collaborate with the Chiangmei Refugee Archive Association (CRAA) in presenting the Taipei edition of Virtuality Embodied from September 20, 2025. Curated by Chen Hung-yi with Asio Liu Chihsiung as the featured artist, Virtuality Embodied was previously exhibited at the Kaohsiung Museum of Fine Arts and will be presented in a more streamlined form in Taipei.
The exhibition Virtuality Embodied began with dreams that filmmaker Asio Liu Chihsiung had in 1995. He first filmed it in 2003, and after a decade of knowing nothing, he developed new works over the following years—documentaries, experimental films, VR 360 film, and even a VR museum (2012-2025). This exhibition is the first time these many versions and forms are shown together. They reflect a journey from “not knowing what we don’t know” to “knowing what we don’t know.” The works invite us to collect fragments—memories feared to be forgotten, memories feared to be remembered, things visible and invisible, drifting between the peninsula and the ocean.
The exhibition also uncovers rare works related to the Penghu refugee camps. Highlights include Love Song of the Displaced (1978), composed by South Vietnamese musician Lê Dinh (1934-2020); photographs by Canadian journalist Jules Nadeau and Vietnamese-born photographer LI Pei-Hui; and video testimony from LI Yuan-Ping, author of Tears and Blood in the South Sea (1978).
▌Curatorial Statement
By CHEN Hung Yi
Embodying Virtuality: The Way to Reality
Anchored in “virtuality,” this exhibition unfolds as a retrospective reflection on its many implications. Drawing on the philosophical notion of “incarnation” as a lens for thinking through bodies, Raw Meat—a literal rendering of the title—insists on the weight, flesh, and presence of abstract concepts: a gesture toward em-body-ment.
Director Asio Liu Chi-Hsiung was compelled to visit a refugee camp site in Penghu after dreaming of its impending demolition. The camp vanished before it could be thoroughly investigated or documented. Since then, a project of rebuilding, piecing together, and restoring the refugee camp lasting more than 20 years began.
Liu’s works, which combine documentary filmmaking and virtual reality building, express a poetic vision grounded in the dialectical relationship between virtuality—the refugee camp becoming a mirage after its actual existence—and the reality—the restoration of the refugee-related events and memories.
This once-existing refugee camp in Penghu, however, is not recognized by any organization outside of Taiwan, including the United Nations Refugee Agency. As a result, it has become an “incident” that officially “does not exist” in the historical record.
This absence underscores a paradoxical absurdity: a real event rendered virtual due to political circumstances. The artists in this exhibition seek to actualize that virtualized reality through artistic works and digital virtual technologies.
The true historical object is not an object at all, but the unity of the one and the other, a relationship in which exist both the reality of history and the reality of historical understanding. From a hermeneutical perspective, history is not a self-contained object to be faithfully represented, but a mode of being that continues in and through texts—mediated by différance.
Taiwan is often regarded as the orphan of Asia; yet in Liu’s view, beyond orphans, we might also be refugees—those who are endlessly in defer[ral/ence].
Poster Photographer | Asio LIU Chihsiung
Prop Designer | Yi-Chu CHEN
Calligraphy | Besau Iming
Translators | Kris CHI, Shu-Chuan LIN
Title & Poster Designer | Tzu-Heng HUANG
Organizer｜TheCube Project Space, Chiangmei Refugee Archive Association (CRAA)
Co-organizer｜MIMEO FILMS Ltd., Taiwan Public Television Service Foundation, Legal Aid Foundation, Hong Foundation, Amnesty International Taiwan
Sponsor｜National Culture and Arts Foundation
*TheCube Project Space is supported by NCAF, Department of Cultural Affairs, Taipei City Government, Live Forever Foundation and Chen Po-Wen.
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