我強烈反對有關TAZ本身只不過是一件區區的藝術品的評論 ，儘管它有一些呈那樣子的外觀。[...]藝術界裡的藝術已經成 為一種商品，但更深層的問題在於表象本身，以及對所有中 介的抗拒。在TAZ裡，藝術根本不可能被變賣;反而會充當一 種生活狀況。」—— Hakim Bey，《臨時自治區》

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計畫標題T.A.Z. (Temporary Autonomous Zone，臨時自治區)來自安那其主義者及詩人哈基姆・貝 (Hakim Bey)出版於1991年的同名書籍，這是一種起義 ，但這樣的起義並不是直接與國家的對抗相關，而是近似一支游擊行動，試著解放一個空間、一段時間、甚至一種想像，在達成行動之後就會解散，並在國家意識到其存在而意欲毀壞它之時，又在某時某地又生成。

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顯而易見的，不公義的政治經濟現實並沒有在數位時代稍停的趨勢，因此，如何在地緣政治中交換彼此的經驗，並在交互參照之後將互相習得的方法脈 絡化、並成為可實踐的方案，成為廣義創作者的第一要務，也是本計劃的初衷，而這個計畫也可視為T.A.Z.被提出近三十年後當代實踐的嘗試。

 

「太平洋海盜」是由書寫公廠 (Taiwan)及RRD (Mexico)自2018年下旬發起的長期計劃，藉由重新審視所有權的概念，並將討論從慣常資訊、技術、 文化生產，延伸到關係及歷史的面相，思考台灣及墨西哥因為殖民經驗及強鄰在伺所具有的共性，以及面對此種當代處境的可能解套方案。

 

計畫盜取了幾種常見的知識生產方式:「太平洋海盜#1」偷了展覽的形式， 包含了以Open Call形式呈現的《Re大補帖》，以及以資料庫形式呈現的《# 盜海盜宣言》;「太平洋海盜#2：臨時自治區」則偷了研究型駐村的形式， 以「聲響」、「書寫」、及「表演」為關鍵字，分別從台灣及墨西哥邀請了三位實踐者，他們是藝術家、策展人、研究者、音樂家、獨立記者，卻也不 僅止於此。以臨時取代永久，以起義取代革命――臨時自治區以遊牧的方式 ，同時存在於資訊空間及現實空間之中，在本次計劃中，六位實踐者將試圖 透過三個關鍵字，發展六種製造臨時自治區的方式。

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“I would strongly reject the criticism that the TAZ itself is ‘nothing but’ a work of art, although it may have some of the trappings. I do suggest that the TAZ is the only possible ‘time’ and ‘place’ for art to happen for the sheer pleasure of creative play, and as an actual contribution to the forces which allow the TAZ to cohere and manifest.” — Hakim Bey, (T.A.Z. The Temporary Autonomous Zone)

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The project titled T.A.Z. (Temporary Autonomous Zone) comes from a book of the same name published in 1991 by anarchist and poet Hakim Bey. This is an uprising, but this type of uprising is not related to a direct confrontation against a country; it resembles a guerrilla action that attempts to liberate a space, a time, and even an imagination. It will be disbanded when the action is accomplished; and will regenerate at a specified time and place when the state becomes conscious of its existence and intends to destroy it.

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Ostensibly, the realities of political and economic injustice have not abated during the digital age. Therefore, the first priority for creators as well as the original intention of this project becomes seeking possibilities for mutual exchanges of experience within geopolitics, and then contextualizing methods learned in the exchange in order to implement them as solutions. This project can also be regarded as an attempt at contemporary implemen- tation nearly thirty years after the T.A.Z. project had been proposed.

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The project pirates several common methods of knowledge production: “Pacific Pirates #1” steals the exhibition format, including the presentation of “ReDBT” in an open-call format; and the “#PiratePirateManifesto” is presented as a database. “Pacific Pirate #2: T.A.Z.” steals the format of research residency, inviting three practitioners from Taiwan and Mexico using the keywords “resound,” “writing,” and “performance.” They are artists, curators, researchers, musicians, freelance journalists, and more. Replacing permanence with the ephemeral, and revolution with insurrection, the T.A.Z. is nomadic and exists simultaneously in the information space and real space. In this project, six practitioners attempt to develop six methods of manufacturing T.A.Z. through three keywords.

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