2020年10月22日《變態路徑?2020臺灣雙年展平行展》於「酸屋」藝術空間展出，作?串聯北中南地區的平行展單位之一，酸屋以共居式的生活空間?場所精神，通過身體和行?藝術的日常實踐，以及持續擴展的工作坊、講座與相關活動，企圖在新興的藝術空間中，創建?類生活與藝術社群的共學居所。然而，在近年來臺灣「藝術家自營空間」(artist-run space)的新運動景觀下，要如何界定「酸屋」的藝術社群空間?？在平行展作?彌補(或?化)主展館的地理空缺中，小機構之間或與大機構的交流合作要如何展開實質的對話?？觀?的位置又在?裡?？當90年代「替代空間」(alternative space)的?一種選擇走向「後替代空間」（post alternative space）的生存思考，協商合作在當今已變成空間經營者的必備能力，那?，我們要如何進一步看待空間?社群背後的生?關係？ 本篇論文將探究「酸屋」藝術空間的生?模式與其脈絡位置，?以《變態路徑》作?主要實踐案例分析，酸屋自2014年以藝術家分租工作室開始，至今轉向共營(CO-OP)與分租(share house)的共和模式，透過藝術家策展人(artist-curator)的展演行動，企圖開闢?一種想像道路的創造性實踐。筆者本身?酸屋團隊成員之一，亦是《變態路徑》的藝術家策展人，通過身體力行的實踐?究和文獻分析方法，探究酸屋在臺灣新世代的空間生?意義與其可能性。

On October 22, 2020, Bian-Tai Routes - 2020 Taiwan Biennial Collateral Events will be exhibited at Acid House Art Space. Through the daily practice of physical and performance art, as well as the continuous expansion of workshops, lectures and related activities, Acid House attempts to create a co-learning residence for alternative living and art communities in the emerging art space. However, in the context of the new movement of “artist-run space” in Taiwan in recent years, how to define “Acid House” as an art community space? In the Collateral Events as a geographical gap to fill (or strengthen) the main exhibition hall, how to start a concrete dialogue between small organizations or the exchange and cooperation with large organizations? And where is the place of the audience? As the alternative space of the 1990s moves towards the survival of the post-alternative space, and negotiation and collaboration become essential for space operators today, how do we further look at the productive relationships behind the space/community? This essay will explore the production model of Acid House Art Space and its contextual position, and use “Bian-Tai Routes Collateral Events” as the main case study. The creative practice of the artist-curator’s exhibition attempts to open up another way of imagination. The author is a member of the Acid House team and the artist-curator of Bian-Tai Routes. Through practical research and documentary analysis, the author explores the meaning and possibilities of spatial production in the new generation of Acid House in Taiwan.