Eroticism only includes a domain marked off by the violation of rules. It is always a matter of going beyond the limits allowed: there is nothing erotic in a sexual game like that of animals…So it is a matter of passing from the licit to the forbidden. Man’s sexual life developed out of the accursed, prohibited domain, not the licit domain.
—(Bataille 1991, 124)  
REGARDING JAPANESE photographer, contemporary artist Nobuyoshi Araki, I will discuss how the latecomers—Ren Hang, the Chinese photographer, and Manbo Key, Taiwanese photographer influenced by Araki, reenact his transgression but at the same time create something novel.  This leads to a concept of provoking queerness stemming from the current political background that differs from Araki’s political background.
Araki’s photography incorporates erotica and pornography. In his first few years of career, Araki published more than twenty books in one year, trying to make photography more like a photo diary. Those photo albums included his personal sex life and love life, and also represented his passion, curiosity, and relentless quest for death and sex. Araki created or recreated concepts such as “I Photography”（私寫真、私攝影）, “I Novel”（私小說）, “Pseudo-Diary”(偽日記), he passed his passion through artworks to the public.  Araki has a direct and clear idea of photographs, that photography is his life, and he thinks the fountain of life comes from women and sex. He also directly captured his wife’s corpse and many photos that relate to death. No matter if it is intentional or accidental, he paves the way for subsequent artists who are eager to expose their personal sentiments and lives to the public–better still, an encouragement of transgression and queer life.
The personal values, sentiments, idiosyncrasies of an artist, or his/her private experiences related to transgression are necessary for the basis of their inspiration, especially when the subjects of artwork contain nudes, or pertain to intercourse, sexual behavior, sexual relationships, death, and gender. It is because those subjects are the direct carriers and manifestations of personal values, sentiments, idiosyncrasies, and factual experiences. This is most unlike a rose representing love or depending on “psychogeography” in the sense that assumes an elegant street causes a feeling of satisfaction. 
A dead body is dead literally; A father who has sex with different genders is a normality based on transgression already;A flamboyant transgender person looking at the screen is queer already; A frog jumps in an old pond, then that’s the sound of water. Under the diverse subjective interpretation of artists, there will be different representations of transgression. The labels such as erotic, pornographic, obscene, gender-fluid, gender-confusion, forbidden fruit, and sin are also subjective to the audiences and critics. 
Whether Ren Hang, Manbo Key, and Nobuyoshi Araki, they go against traditional social norms, stigmatization, and moral standards. This issimilar to the definition of Georges Bataille’s transgression–transgressing the status quo of social norms or mainstream hegemony to develop their own queer lifestyles and artworks. Most importantly, they are the living proofs, manifestations of their own artworks, and are honest to their true selves, via true self, bodies and their intertwined art media (photography, painting, DJ-ing, fashion, lifestyle, sex, death, and love) as media and carrier to embody a fragmented, thoroughly self-determined queer trajectory that allows for progressive contextualization and cross-contextuality.  
Queer is an identity within a subjective agency. Queer transcends all sexual behaviors and gender expressions, all concepts linking such to prescribed, associated identities, and their categorization into “normal” or “deviant” sexualities or gender, are constructed socially and generate modes of social meaning. The notion of queer follows and expands feminist theory by refusing the belief that sexuality and gender identity are essentialist categories determined by biology that can thus be empirically judged by fixed standards of morality and reported truth. Nonetheless, it is more than self-identity or gender identity, but an identity which deconstructs the preceding mechanisms of power and cultural logic. It also represents people who are self-occupied in a marginal, alternative subcultural scene and refuse to be assimilated by mainstream culture, adhere to their own alternative character, and at the same time embrace assimilation and do not pursue cultural hegemony. Queer explores the logic and presentation of power/culture in which they operate together automatically, the mechanism of the knowledge/power linkage, and the possibilities of differences and alliances. In this regard, we will also explore how Araki and Manbo reenact the power of queer in a gender sense, and as deconstructive trailblazers
This essay undertakes a cross-contextual methodology, in order to fully and wholeheartedly understand Key’s trajectory and how he was affected by the context of previous events—Araki’s artworks.
Scene 1: Father’s Videotapes x センチメン タルな旅 : In the Order of Daily Life Passing Lightly, I Feel Something Subtle
NOBUYOSHI ARAKI poses certain parallels to Manbo Key.  The work of both features a kind of passive and natural documentary. They are both passively drawn or even haunted by the targets who are intimate and love– what their loved ones gave them, they take it meticulously and reenact the essences of loved ones in mediums ranging from videotape, cassette, and photography.
Manbo traced and tracked his father for twenty years, during the creation of Father’s Videotapes, he was still in a status quo that made him confused and afraid of talking with his father regarding his sex tapes or father’s “abnormal sexual behavior”. Walking down the long memory lane with their father, even exhibiting his father’s secret letter, sex life, and their raw dialogue, Manbo subconsciously and at the same time consciously shows his uncertain complex feelings in seeking the reasons why his father did that to himself and to Manbo, this shows his indirect, subtle interaction with father.  But it is only through the tangible and factual mixed media that father left or recreated by Key that he can manifest the conflict between his internal dialogue and the social gender norms.
During the making of Father’s Videotape, which lasted for almost twenty years starting from 2013, this shows a process of a loop of passive reenactment.  To reenact means acting out or a repetition of a past event or situation. If you re-enact an event, you try to make it happen again in exactly the same way that it happened the first time, often as a way to help people remember certain facts about an event. In the reenactment, according to Jennifer Allen, the audience becomes a witness in whose eyes “the original event becomes historical by taking up time, and claims its status as history by appearing as a discrete event with a finite duration. In other words, the reenactment makes the event an origin, giving it a definition and an identity that it may not have had for itself. Thus, reenactment aims to turn the shapeless continuity of our chaotic past into a discrete and well-defined experience, for which only repetition and a new reading can provide a possible meaning. But in this process history should not be viewed as closed and prescriptive; as it was for Benjamin, history is a field of possibility, in which not only the future but even the past is constantly re-written (and this is particularly manifest in Rod Dickinson’s work.)
The reason why Manbo called his exhibition“Father’s Videotapes” is because while Manbo was still a teenager, eighteen years ago, he unintentionally found a videotape from his dad’s box of gay porn, and watched his father’s sexual videotape using a V8 camera. At this juncture, Manbo felt “A shock of transgression of life logic”.
This also combines with the experiences before he found the sextape: Once on the new year holiday, the sound of sex emanated from his father’s room. Although Manbo has already known the true self of his father and his father knew he was exposed, they didn’t officially talk about this topic. Starting from that moment, he explored his interests in sex and paved the path walking next to his father to try and feel what his father feels.
Photo 1 by Manbo
In Manbo’s eyes, his father was always a drifting (流流漂漂) person. He somehow leads a bohemian life as a maverick. His caretaker was his grandmother, his mother gave birth to him and then left home. His mother also hung out with other lovers when she was with his dad, having other two children.
In the beginning, he was always noticed and gossiped about by the neighborhood. Folks were curious about his sexuality and predilection, whether he was abnormal or not. In this situation, Manbo intended to keep his mouth shut, so he studied so hard in high school, feeling like the academy could make him satisfied, proving he was normal. Manbo and his father’s relationship was bad before he started the art project related to his father.
He blamed his father: “Why did you give birth to me? Why am I an illegitimate child? Why are you such a kind of person? How can I face the gaze of other people? How can we communicate? What do I really desire? Does it depend on you? Are you abnormal?” Conversely, Manbo resonated with the sense of Bataille’s transgression: “When I was in high school, One time, I saw a man directly walking into my house and into my father’s room. Actually, it is not the first time but that moment struck me most. That time I could hear the sound from them, and the whole order and logic were interrupted. However, to be honest, more than shocking, I felt excited. The more forbidden, the more desirable.” This is the law ofBataille’s transgression working through Manbo’s life.
Photo 2 by Manbo
Manbo’s own interpretation goes like this,“When I saw the sex magazine (Photo 1) from my dad, it marked that it was prohibited. Thus, I know in their era they are trying to overcome some obstacles and were dealing with their sentiments.” “I put some hints in my exhibition...People who understand will understand them. For instance, this censored letter with the stamp on it. (Photo 2) It represents something in a particular era that needs to be reflected on. Someone saw this letter and resonated with it saying they had received the same letter with a stamp. When teachers saw this stamp they were shocked and doubted what my family did. This is the status of me hesitating saying things I can say or not…”
Manbo developed his own interpretation of events based on first-hand, historical material from father, rendering a novel reading with a discrete perspective. But paradoxically, they were companions from the start.
NEURASTHENIA GAVE Ren Hang a reason to rely on photography and art, as a means of a projection about subtle feelings that always passively drove him to transgress the stereotype.He enjoyed staying in his room and exploring different masterpieces online. Noise and the outdoors made him nervous, as he always abruptly blacked out in the subway. In the documentary “I have got a little problem“ by Xi-ming Zhang, Ren Hang’s subtle feelings in the order of daily life are shown.
Photos 3 and 4 by Ren Hang, Robert Farber
The censorship in Beijing is the drive of his photography. “My photos have nothing to do with politics. They are deeply related to China and Chinese culture.” He told the publisher TASCHEN, “I don’t deem my work as something forbidden because I seldom consider cultural and political backgrounds. I am not willing to break through something. Just doing something I think is right.” Thus, the “subtle” feeling in which this world made him anxious and the political status quo of China were excluded deliberately by Ren Hang himself. He was always under a suffocating tyranny but he didn’t confess this. He blamed it on himself,
Photo 5: McGinley (left), Ren Hang (right)
Neurasthenia was an excuse to indulge in an art world constructed by other artists but not him. In “I have got a little problem”, Ren always claimed “When all of us don’t talk about freedom, then this is freedom.” “Being naked and taking those being called illegal, immoral, abnormal sex photos are just normal. I am using pornography and sex as a tool to express that those things are normal.” He was trying his best to deny, overlook, and cover the actual unfair censorship practices everywhere in China. That’s why his subtle sentiment is unsound, indifferent and paradoxical.
Photo 6: Red note from Ren Hang 2021 TASCHEN, owned by ASTROJOKE
Unlike Manbo and Araki, they are really dealing and facing the targets equally. Trying their best to reenact their selective targets in different styles in different timelines. They recognize and are aware of the truth that the wife is dead, the father is mysteriously troublesome but I have deep feelings for them so I will manifest them equally with some of my subjective in it to make it colorful and poetic. They can see through their own context, and get into the context of their targets.
Photo 7, 8, 9: “I have got a little problem” by Xi-ming Zhang. 2017. Screenshot by ASTROJOKE via Giloo)
Ren Hang was unable to do that as his subtle sentiment is unsound and decontextualized. Brought with his naive notion that merely using a subject itself to disobey the subject itself (as seen in his juxtaposition of conceptual sex vs stereotypical sex), his whole works were eventually limited and haunted by the thing he detest most: hegemonic and symbolic sex.That’s why he concluded that he had nothing to do with transgression, creativity, reenactment and more, disavowed the vitality and concept of himself and his works.
Photo 10: 登曼波於2022年5月的「在地實驗計劃論壇」中分享的創作心得。
Scene 2: The Secret of a Transgression of Queer: Intimacy
I drink from your slit
And I spread your naked legs
I open them like a hook
Where I read what kills me,
— (Bataille, translated by Hollier 157
GEORGE BATAILLE undertook transgressive writing like other surrealists. It is also a kind of écriture corporelle.  This kind of writing can return to the Marquis de Sade, who is the pioneer using erotism as a starting point in the transgression of social normssocial norms.. This kind of transgression is more than giving a new reading of the body or overthrowing the traditions culture. Through the process of transgression, the words we intertwine with sexual pleasure, and the fantasy of specific objects are all due to the existence of an object that is close to us physically or psychologically. 
In other words, we must be intimate with someone, something, related to it/him/her/they, the motivation drives us directly to write, capture, record, draw, and touch them. Intimacy at the same time allows for the communication of subtle and ambiguous feelings to outsiders and insiders. Araki’s string of Yoko’s intimate photos in “Sentimental Journey“(Photo 11) reflects a secret and desirable eye to the audience, but to Araki, it may be something warm, horny, or bittersweet. This could be one of the charming elements that manifest intimacy
Yoko and Araki had undergone a long trip. the tired and vulnerable gesture curled up on the boat is Yoko, like a baby curled up in the womb on a starry night, returning to an original primitive state. All these things seem trivial and ordinary in the eyes of others, or are maybe something dirty, weird, abnormal? His attitude towards sex in his works is an attitude towards nudity which is natural. He never treats the body or any sexual, intimate interactions as potentially cringeful, without even a tool or sign like Ren Hang to tell audiences that I am going to break the rules.
Photo 11:センチメン タルな旅 by Nobuyoshi Araki & Yoko Araki, 1971
Araki has a fondness for “female nudity” and has the courage to try to establish relationships with women to learn more about their bodies. In “Sentimental Journey”, Araki focuses on Yoko’s nudity in various spaces, and it happens that through the different states of nudity, Yoko is under different emotions and raw states. The finished state (their natural state) of his objects in photography is because he is inside the body of the object. He, the camera, and woman are having “3P”, a collective work. They as one and reflect on what their relationship really is. Araki never switches the lens. It is part of the camera, part of his body. If we realize the lens, what is inside us, we notice ourselves. But if we are intimate with ourselves, taking photos, we won’t notice the camera.
As we are already in the camera. Araki will move his own body forwards or backward to approach targets. To him, photography and art must connect his body. When he captures and approaches targets, he focuses on how to communicate with targets like telling her how the way she is beautiful through his whole body standing in front, close to the targets. When Araki saw three old ladies with a toddler, he felt bliss. Then, he focused on saying hello and expressed his gratitude, at the same time putting his camera up to his eyes to capture this. This whole smooth gesture without the consideration of composition, as when we start considering how to determine a whole picture, we hesitate in putting three people in or two people in or also include the tree.
The queerness of Araki is his trailblazing intimacy with women and other targets as you like, the willingness and wonder of connecting art and life with love, passion, and genuine unity.It is not like the 1950s new wave photographic association VIVO with Narahara Ikkō and 細江英公..and others,The way of having direct feeling , developing and expressing intimacy to the lovable object teaches Ren Hang and Manbo Key to transgress. That is the magic, the transcendence, the queerness with which Araki inspired Manbo and Ren: intimacy and subtle feeling.
Photo 12: 遠い場所の記憶：1951 – 1966 by 川田喜久治 VIVO
With the cultural background in Berlin, Mambo’s transgression and flamboyant style of queerness is filled with the sparkle of Paris is Burning 1990.  As he is now fulfilling the expectations of Taiwan’s contemporary art scene, critics, awards, museums that must have a reasonable , contextual trajectory to express his queerness and art, along the lines ofof a grand narrative.
More, it is willful that Manbo tries to bring the drag queen, the queer scene of Berlin or other foreign countries into Taiwan in a balanced or hegemonic way. He once said Taiwan has no personal and unique queer history and context, he wants to develop it by his art and the community he has. But at the same time this poses foreign queer text as superior to Taiwan.
In a nutshell, this essay writing is a profound trip for me. The uncertainty of Taiwan’s queer art context and the fluid definition of queer motivates me to redefine and trace the ecology of queer-ness in Asia. The context of queer history and its definition in Asia is uncertain, unlike Western countries they can already create a hegemony of queer. After all, many queer scenes ranging from ballroom, club DJ, film, and drama, can strangely stress boundary making. Boundaries identify who is and who is not a member of the group. By emphasizing differences between activists and the rest of society, boundaries indicate the in-group and the out-group or the “us and the them”.
This leaves me with a question of inclusion and exclusion. How are these boundaries formed? Who counts as the in-group and who counts as the out-group? And how does this drawing of boundaries affect the consciousness of the group? There can be a stress on superficial beauty in queer communities which, too, is gatekeeping.But more than that, It is about the core values that you hold and not only manifest physically. In this regard, I aim to suffuse Taiwan with a sense of ingenuity and transgression —-the queer power to deconstruct any forms of hegemony and power mechanisms. This aspiration needs to be combined with a realization of what is reenactment, a smooth texture from passive or active. During this course of transformation, I have sought something new. See, that’s why I didn’t kill myself but make graffiti art, zines, experimental music and read Foucault to disgrace all form of tyranny!
 這裡說的是有生命力、踰越性的直接載體是身體、性愛、性別、死亡。因為主體的情感、切身經歷直接投射在他的身體、性愛行為包括荒木陽子的裸體、荒木兩人做愛的過程(如陽子幫他口交、高潮的表情)、陽子裸身在戶外及室內的靜態照、性別表徵如衣著、談吐、表情、風格、器官（如任航拍攝青檸跟菸頭插進友人陽具，直接表達陽具的敏感度和可塑性）以及最終的死亡狀態如荒木經惟拍攝亡妻陽子屍體。對比Guy Debord, ‘Introduction to a Critique of Urban Geography’, Knabb,p6–7需創立一個詞「心理地理學」去確保自己弱小的心靈難以單憑信念和自身體會去知道「各種環境與氛圍的組合可能性，產生出來給居民的主觀感，是類似於將純化學物質混合成無數種混合物，會產生與任何其他形式的奇觀所能喚起的不同和復雜的感覺。」。我們不需要先塑造一個客觀的感覺或刻意用宏大敘事、概念性的字詞去支撐起你的東西是獨一無二的普遍法則。它本來是這樣，當下即實相，玫瑰就是一種植物，不是愛情，存在是在未始有言之先的存在，而當人用語言說它，存在成為了話語所論定的對象物，不是存在的本身。
《父親的錄影帶_碧兒不談》是楊登棋（登曼波）進行超過10年的計畫，時間回到90年代，因為發現父親的自拍錄影帶，無法避免地也發現了父親的性傾向，而隨之開啟的一連串對於「父親」角色的重新理解──不管是作為個體的或是社會定義上的。 透過攝影、錄影、物件與裝置去試圖追溯、理解或重現他與父親之間的關係。延續先前作品《父親的錄影帶 Father’s Video Tape》，在《碧兒不談》中，楊登棋（登曼波）從個人的經歷出發，回望世代間的轉變與跨越，曼波從台北多元的酷兒生活圈中，是如何各自以自己的方式建構出自我的認同，以影像、裝置將展覽編輯成為一系列影像詩歌，以不同篇章紀錄一群不被主流所見，甚至被迴避直視的群體。《父親的錄影帶 Father’s Video Tape》於2019年獲臺北美術獎首獎，《父親的錄影帶_碧兒不談》創造了跟前作《父親的錄影帶》，彼此兩個作品關係的視覺性伏流，也同時是歷史未揭露的故事，更凸顯了談與不談的表演政治與未來的行動。有關從《父親的錄影帶 Father’s Video Tape》到《父親的錄影帶_碧兒不談》的創作理程，參閱pic 10由登曼波於2022年5月的「在地實驗計劃論壇」中分享的創作心得。
《巴黎在燃燒》是由珍妮·利文斯頓執導的1990年紀錄片。它拍攝於1980年代中後期，記錄了紐約市以及與之相關的非裔美國人，拉丁裔，同性戀和變性人社區的球文化。評論家認為這部電影是一部關於紐約市“黃金時代”終結的無價紀錄片，並且對美國的種族，階級，性別和性取向進行了深思熟慮的探索。值得注意的是，本片為酷兒世界、文化帶來關鍵定義和話語領域如:Ball/ball room,字面意思就是舞會。但這裡指的是80年代在美國黑人同志社區興起的一種活動，人們聚集在一起來「比賽」，比賽分為幾個 category （類別），的內容有走秀、舞蹈等，並選出當晚的獲勝者。Realness,字面就是「真實/本身」，是走秀的一部分。比如 school realness, 意思就是服裝的主題要極力體現「學校」這個主題，你可以穿成學生、教師，總之，要「真實」。常見的主題有 town and country realness (鄉村主題)，military realness (軍裝主題)，executive realness (職場精英主題)等。 House,即「家」，但不是真實的家，是由一個創始人創辦的團體，通常在 Ballroom 里，會有來自不同的 house 之間進行比賽，個人的輸贏關乎 house 的榮耀。如果想加入某個 House, 則需要在 ball 上拿到獎盃之後，帶著榮耀加入到某個 house.在八九十年代的紐約，相當一部分同志被父母拋棄，或者本身就是無家可歸，他們在 house 中獲得同僚們都支持，無論是物質上的還是精神上的，讓他們有一種極大的歸屬感。 目前仍然在活躍的 house 有十多個，著名的就有 LaBeija, Ninja. 在本章，我會刻意用日常字詞去避免這些脈絡化、具文化意識的定義。