緬甸跨國移動的撣族（Shan）男性移工，身處泰國都市經濟與文化邊緣，作為身處陌生城市中的族裔他者，這些男性在極度不穩定的生存條件中尋找自身位置，而求生往往迫使他們進入性交易的灰色地帶——在那裡，身體同時成為貨幣，也成為被爭奪與規訓的場域。 本次展覽透過多重視角與不同情境，描繪這些移於不同場域之間的生命狀態，並揭示男性氣質如何隨著脈絡轉化：從欲望被商品化的按摩院私密場域，到健身房與足球場等群體空間，文化認同在移動中被抽離，也在其中被保留。透過稜鏡式的觀看，進一步揭露經濟壓力、族裔邊緣化與性勞動如何交織，並生成挑戰傳統性別、移動與歸屬理解的另一種男性表現。 展覽拒絕將這些生命簡化為受害者敘事或異國奇觀，而是試圖創造如 Sara Ahmed 所提出的「酷兒餐桌（queer tables）」，一種質疑既定幸福的路徑與歸屬想像的空間。透過局部揭示與物質轉化的策略，作品使那些通常被侷限於影子經濟中的經驗得以被看見，同時也保護脆弱主體免於被剝削性的凝視。 在此，藝術的介入除了提供一種敘事，也嘗試捕捉那些遊走於多重文化、世界之間的複雜生命狀態。介於故鄉與移居地、介於白日的不可見與夜晚的渴望、介於為客戶表演的男性氣質——與傳回家鄉訊息中流露的脆弱情感。 這些彼此交錯的視角，鬆動了既有的分類框架，轉而呈現那些必須在剝削其勞動、卻否認其人身主體性的體制中，不斷自我重塑的完整人性。作品開啟相遇的空間，邀請觀眾重新思考，他們並非遙遠且抽象的他者，而是在結構不平等中，以創造力、韌性與尊嚴回應生命處境的複雜主體。 - 藝術家｜Samak Kosem 展期｜2026年9月11日（五）- 2026年10月12日（一） 地點｜一菅空間（高雄市鹽埕區五福四路184號1、2F） 活動資訊 展覽工作坊｜2026年9月11日（五）12:00~14:00 展覽與談｜2026年9月11日（五）15:00~17:00 與談人｜國立中山大學社會學系教授兼系主任 趙恩潔 i.j.w.t.b.h.——Samak Kosem Solo Exhibition This exhibition interrogates the fluid performances of masculinity as embodied by Shan transnational migrants navigating the economic and cultural margins of urban Thailand. Living as ethnic others in unfamiliar cities, these men negotiate precarious existences where survival often demands entering the gray zones of sexual commerce—spaces where their bodies become both currency and contested territory. The project portrays these lives through multiple perspectives and situations, revealing how masculinity transforms across different contexts: from the intimate theaters of massage parlors where desire is commodified, to the communal spaces of gyms and football fields where cultural identity is preserved and reclaimed. Through this prismatic approach, the exhibition exposes how economic necessity, ethnic marginalization, and sexual labor intersect to create new forms of masculine expression that challenge conventional understandings of gender, migration, and belonging. The exhibition refuses both victimization narratives and exotic spectacle, instead creating what Sara Ahmed terms "queer tables"—spaces where conventional paths to happiness and belonging are questioned. Through strategies of partial revelation and material transformation, the works render visible experiences typically confined to shadow economies while protecting vulnerable subjects from exploitative gazes. Rather than presenting a singular narrative, these artistic interventions capture the complexity of lives lived between worlds—between homeland and host country, between daylight invisibility and nighttime desirability, between the performance of hypermasculinity for clients and expressions of vulnerability in messages sent home. This multiplicity of perspectives refuses simplistic categorizations, instead honoring the full humanity of those who must continually reinvent themselves within systems designed to exploit their labor while denying their personhood. The works create spaces of encounter that challenge viewers to recognize these men not as distant others, but as complex subjects navigating structural inequalities with creativity, resilience, and dignity.