當林布蘭特畫出鏡中的自己時，藝術的洞見似乎深藏在物理世界的暗處，而培根和路西安．佛洛依德筆刷下的鏡中人則是在破碎的影像漩渦中，浮現出不願消失的姿態。然而，當我們面對的資訊成為今天的鏡子時，每面流動的鏡子都在與人相遇時投射出部分模樣，這巨大數量的鏡子漂流在資訊的大洋，由彼此在各自投射的積累中進行各種連結。那麼我們會呈現出什麼面貌呢？抑或在這網絡中早已溢出面貌之外？在今天海量串流中的「迷失」不是方向的錯誤，而是方向的無限分裂，這不是一個牆的迷宮，而是一個沙漠或是海洋的迷宮。
　
黃漢明和余政達便是讓我們體會並思考上述問題的當代藝術家，黃漢明不斷「加速」介入不同脈絡的角色，讓文本因為錯亂而呈現出被設定的敘事架構，藉此打開殖民與虛構的討論，而余政達則慣用「疊身」而衍生出類似合唱的場景，讓既定的文本產生顫影，而流向感性的內爆。「西瓜姐妹」是他們倆攜手合作的計畫，這計畫讓我們可以想見唯有「扮裝」和「演出」，才能夠捕捉與社會、歷史的串流影像不斷交替反射出的形象，甚至是與商業環境或商品進行過度擬造，才能夠創發「自己」。他們「表演出」在資訊中漂流不是為了滿足固定的觀看關係，而是為了在影像和訊息的關係網絡中標示出位置，換句話說，妝扮自己或是表達自我都難以達成「表演性」，「表演性」發生在網路交集出的「定位」，唯有將自己投射到資訊中、並模仿資訊進行演出才得以在資訊世界中「生態地」活著。
　
自我就是資訊惑體，交替學習不再是教育學的專有名詞，而是生態中的訊息往返與改寫，所以他們藉這次在TAO ART將「西瓜姐妹」作完整的呈現，讓其中富含思考層次的「製作」，能夠觸發我們在數位網路中顯得更有創意、能量超標，也引領我們感受到「加速」、「疊身」與「出神」已然是「酷兒」的根本之道，將訊息酷兒化將是一場世界轉型的革命。

When Rembrandt painted himself in the mirror, the insight of art seemed to be hidden deeply in the dark corners of the physical world; the shadows in the mirror under the paintbrushes of Bacon and Lucian Freud, on the other hand, presented an unwillingness to disappear in the vortex of broken images. However, when we face information that has become the mirror of today, every flowing mirror projects partial images when they encounter people. Such a massive number of mirrors float in the ocean of information, carrying out various kinds of connections through the accumulation of each other’s own projections. Then, what look will we present? Or we have already transcended looks in this network? Being “lost” in today’s massive amount of streaming is not an error in direction, but the infinite splitting of direction; this is not a maze of walls, but a labyrinth of desert or ocean.
　
Ming Wong and Yu Cheng-Ta are contemporary artists who make us realize and consider the above-mentioned questions. Wong constantly “accelerates” to intervene with roles of different contexts, confusing texts so that they present the set narrative structures to ignite the discussion on colonization and fiction; Yu is accustomed to using “overlapped bodies” to derive scenes resembling chorus, creating vibrating images for preset texts and leading to the implosion of sensitivity. “The Watermelon Sisters” is a project in which the two artists collaborate, and this project shows us that, only through “costumes” and “performances,” can we capture the reflected images that constantly alternate with the streaming videos of society and history, or invent “self” through “over fabrication” with commercial environment or merchandise. They “perform” to label a position within the relational network of images and information, rather than to satisfy the fixed viewing relationship; in other words, dressing up self or expressing self can hardly achieve “performativity,” and “performativity” happens in “position” woven by the Internet; only by projecting self into information and imitating information for performance can we live “ecologically” in the world of information.
　
Self is the confusing agent of information, and vicarious learning is no longer a pedagogical jargon, but the back and forth, and rewriting, of information in ecology. Therefore, through their complete presentation of “The Watermelon Sisters” at TAO ART, the “production” with rich layers of considerations can thus trigger us to be more creative and excessively energized in the digital network, while also guiding us to realize that “acceleration,” “overlapped bodies,” and “daze” are already the essence of “queering,” and “queerization” of information is a revolution that will transform the world.