烏托邦是人類不滿現實而頑強希望的歷史。Utopia 的 u 希臘字源來自 ou-topos，即無地方，接近英文的 a-topia；U 也可解釋成 eu-topos，意味著快樂美好。Topophilia 則是地方之愛、場所之愛，著名人文地理學者段義孚的一本書便以此命名，展現人們對地方之認同與情感生成。
U-topophilia，同時包含了愛無地以及地之愛的衝突意涵。這衝突之意涵卻指出實踐新意：從屬地主義式的認同與美好幸福的地方感，藉由認識諸眾與地方之差異，轉而無地之愛的社會性藝術實踐——這也許是面對當今新自由主義造成的社會生活分裂下，藝術生產最有意義的面向之一。本展四件作品展示了藝術行動者如何從創作者的主體觀，轉變成與田野成為共同生產者的團體協作過程，從地方之愛到無地之愛的實踐轉變。
Utopia is the history of humanity's dissatisfaction with reality and its tenacious hope. The 'u' in Utopia derives from the Greek ou-topos, meaning 'no place' — close to the English a-topia. It can also be read as eu-topos, meaning a good or happy place. Topophilia, in turn, is love of place, love of locale — the title of a well-known book by the humanist geographer Yi-Fu Tuan, which traces how people form identity with and emotion through place.
U-topophilia holds within it the conflicting meanings of loving no-place and loving place. Yet this very conflict points to a new kind of practice: through recognizing the differences between the multitude and place, an identity rooted in territorial belonging and a sense of good, happy place shifts toward a Societal Art practice of U-topophilia. Under the social fracture produced by contemporary neoliberalism, this may be one of the most meaningful dimensions of art production today. The exhibition's four works trace how art practitioners move from a creator-centered subjectivity toward collective processes of co-production with the field — a shift in practice from topophilia to U-topophilia.
記錄 1997 年臺灣第一場都市社會運動「反市府推土機」——臺北市長在短短三個月內拆遷了一個六十多年的違建社區，引發臺北都市統治的政治危機與一連串空間議題的行動。導演既是運動組織領導者也是記錄者，這部 86 分鐘的紀錄片是華人地區第一部聚焦都市更新與社會運動的作品，已成為臺灣大學建築與社會學專業的指定參考資料。
A documentary of "Protest against the Municipal Bulldozers" — the first urban social movement in Taiwan (1997), when the mayor of Taipei had a sixty-year-old informal community demolished in three months, triggering a political crisis and a string of actions on spatial issues. 86 minutes; the director was both the organiser of the movement and its recorder. The first documentary in Chinese-speaking communities to focus on urban renewal and social movement, it has since been adopted as required reading across architecture and sociology programs at National Taiwan University.
受尼采「城市文字的歷史會殺死石頭的歷史」啟發，本作追問：石頭的歷史又如何殺死勞動力的歷史？黃孫權在臺北、高雄邀請菲律賓、印尼、泰國、印度等國外籍移工，以及在深圳邀請不同崗位的勞工，以自己的手機拍攝一日所見；電腦程式處理後以 21 屏 6 分鐘影像裝置呈現。臺灣 42 萬國際移工的家務勞動與工廠建築撐起臺灣經濟，深圳的外省勞工則在 30 年間將漁村變成全球城市——他們的尋常眼光，正是支撐現代市民生活的基石。曾於 2012 深港城市╱建築雙城雙年展、高雄勞工博物館展出。
Inspired by Nietzsche's remark that "the history of texts (cities) will kill the history of stones," A Day asks a further question: how does the history of stones kill the history of labour? Huang invited migrant workers from the Philippines, Indonesia, Thailand and India living in Taipei and Kaohsiung, and workers across a variety of posts in Shenzhen, to film a single day of their own sight on their phones; the computer-processed footage is presented as a 21-screen, 6-minute video installation. The 420,000 international migrant workers in Taiwan, whose housework and construction labour underpin the economy, and the migrant workforce in Shenzhen, which turned a fishing village into a global city in thirty years — their ordinary gaze is the footstone that sustains modern civic life. Previously shown at the 2012 Shenzhen–Hong Kong Bi-City Biennale of Urbanism\Architecture and the Kaohsiung Museum of Labor.
關於高雄旗津沙洲從日據時期至今的歷史演變與空間政治的系列作品，由三個不同時期的創作延伸而成：《複島》（2012–14）以多媒體裝置結合開源碼 AR 軟體與自動敘事機器，供民眾手機下載後「親訪」旗津重要地點；《Memo-scape 錄地景》（2014）從工作坊與田野訪談找出社區老照片，尋人尋景「復刻」雙重故事；《高雄點唱機》（2014 高雄美術館）以聲音化地方歷史的點唱機形式，混合當代日常聲響與歷史事件錄音。團隊 2011 年底由高師大跨領域藝術研究所黃孫權教授組成，與旗津居民長期協作，以「集體」組織方式重繪諸眾公共歷史。
Islands Series: an investigation of the historical transformation and spatial politics of Qijin, a sandbar in Kaohsiung, Taiwan, from the Japanese colonial era to the present. The series unfolds across three works — Islands (2012–14), a multimedia installation with open-source AR software and an auto-narration machine that visitors download on their phones to "visit" significant sites in Qijin; Memo-scape (2014), drawing on community workshops and field interviews to find old photographs and then "re-performing" the doubled story of people and place; and Kaohsiung Jukebox (2014, Kaohsiung Museum of Fine Arts), a jukebox that transforms local history into sound by mixing contemporary urban soundscapes with recordings of historical events. Organised in late 2011 by Prof. Huang Sun-Quan at the Institute of Interdisciplinary Arts, National Kaohsiung Normal University, the team works in long-term collaboration with Qijin residents through "collective" organisation to rewrite public histories.
建築與烏托邦是歷史雙生兒——烏托邦者的建築幼稚，構想完美政治後淪為圓或方的集中營；建築師的烏托邦天真，以形式消除社會罪惡而淪為形式主義。《出櫃》精煉烏托邦主義者的城市理想與形式悲劇的灰燼：一座巨型鏡塔，立面切割擷取自歷史上著名烏托邦建築師方案，將他們未曾實踐的藍圖以真實比例 3D 模型放入塔中；鏡面凹凸反射他們的智慧與現實之差距。鏡塔之外，以建築師擅長的類型學建檔方式，整理建築與烏托邦的歷史批判圖文。首展於 2014 中央美術學院美術館第二屆 C.AFAM 雙年展。專書《建築與烏托邦》為本作延伸閱讀。
Architecture and utopia are twins of history — a utopian's architecture is naive, conceiving a perfect political structure modelled as a circular or rectangular concentration camp; an architect's utopia is innocent, attempting to eliminate social evil through form and descending into formalism. Come out! Utopia distils the utopian ideality of cities and the embers of formalist tragedy: a colossal mirror tower whose façade is cut to excerpt the elevations of famous utopian architects' unrealised plans, with their blueprints rendered as life-sized 3D models inside the tower; concave-convex mirrors reflect the gap between their wisdom and reality. Surrounding the tower, a typological archive — a method architects are skilful at — presents historical criticism of architecture and utopia in images and text. Premiered at the 2nd CAFAM Biennale at the CAFA Art Museum (2014). The book Architecture and Utopia accompanies this work as a reading companion.
