身體風景：派翠西亞‧匹斯尼尼 by YUHSIU MUSEUM of ART

毓繡美術館攝影 : 李國民 | YU-HSIU MUSEUM of ART, Photographer: Guo-Min Li

序李足新成就一場奇幻旅程：當毓繡美術館遇上派翠西亞．匹斯尼尼

策展論述陳明惠

圖錄

展覽總說

攝影系列 25

菲茲洛伊系列

大自然的小幫手系列

科學故事系列

錄像 48

溫柔

不完全是動物 ( 年輕家庭的跨基因頭骨 )

單車犬

新手

單臂之力

俯臥

底食動物

代理人

突然一擊

迎接賓客

靈感的源頭－隨筆繪圖

簡歷

藝術家簡歷

107

策展人簡歷

目錄 Contents

雕塑作品

Preface Chu-Hsin, Lee Embarking on a Fantastic Journey: When Yu-Hsiu Museum of Art Met Patricia Piccinini

Curatorial Essay Ming Turner

Plates

About the Exhibition

Series of Photographs 25

The Fitzroy Series

Natureâ&#x20AC;&#x2122;s Little Helpers

Science Story

Video 48

Tender

Sculptures Not Quite Animal (Transgenic Skull for the Young Family)

Cyclepups

The Rookie

The Strength of One Arm

Prone

Bottom Feeder

Surrogate

The Coup

The Welcome Guest

Sources of Inspiration - Essays Sketch

Biography

Artist's Biography

107

Curator's Biography

ĺş? Preface

序

毓繡美術館致力於「當代寫實藝術」的研究、展示及教育推廣，我們期許本館是一個幽靜、優質的展覽場域，除了有群山圍繞的自然景緻外，更期盼能與各地藝術愛好者們，分享優質的藝

成就一場奇幻旅程：當毓繡美術館遇上派翠西亞．匹斯尼尼

術品及獨到的視覺經驗。開館至今，獲得各界朋友們的建言及鼓勵，我們也期待在寫實藝術的道路上走得更踏實，站得更穩當。

李足新本年度第二檔大展，邀請了澳洲藝術家派翠西亞．匹斯尼尼來臺舉辦首次個展，同時也邀請到國立成功大學創意產業設計研究所專任助理教授陳明惠擔任展覽策劃，與美術館同仁們一起完成這個充滿想像與省思的展覽。

匹斯尼尼於 2003 年代表澳洲參加第五十屆威尼斯雙年展，且長期關懷著當代科學議題，包括基因工程、科技改造及生物科技等，為了回應這些議題，她虛擬了多種樣貌及功能迥異的奇異生物，牠們被塑造成混種的樣貌時而討喜、時而詭譎，忍不住讓人想多看幾眼，但當您回過神之時會發現，牠們如同自然界的佈道者呼籲人們要多愛護大自然，及留心生物科技所引發的道德問題等。

美術館這回展出《身體風景－派翠西亞．匹斯尼尼》特展，充滿著栩栩如生的奇異物種，同時又帶著警世之預言性，藉此希望在這個動盪不安的社會狀態下，喚起人們對社會與自然的愛與關懷，更希望打造一個假想的烏托邦世界，引領觀眾回到最純淨的存在，欣賞藝術之餘更需珍惜擁有。

毓繡美術館館長

ĺş? Preface

Preface

Yu-Hsiu Museum of Art strives to research and exhibit realist art, and also to educate its visitors. In addition to offering a tranquil, high-quality exhibition venue surrounded by a natural, mountainous environment, we hope to share

Embarking on a Fantastic Journey:

outstanding works of art and unique visual experiences

When Yu-Hsiu Museum of Art Met

with art-loving audiences from around the world. Since the

Patricia Piccinini

and encouragement from friends in different fields, which is

Chu-Hsin, Lee

opening of the museum, we have been receiving feedback enabling us to progress more steadfastly and steadily when introducing realist art to our visitors.

The Director of Yu-Hsiu Museum of Art

For our second exhibition this year, we have invited the acclaimed Australian artist, Patricia Piccinini, to present her first solo exhibition in Taiwan. The exhibition is curated by Dr Ming Turner, Assistant Professor at the Institute of Creative Industries Design, National Cheng Kung University, who has collaborated with the museum staff to complete this imaginative and reflective exhibition. Piccinini represented Australia at the 50th Venice Biennale in 2003. Her work reveals her ongoing concerns about contemporary issues in science, including genetic engineering, technological modification, and biotechnology, among others. In response to these issues, she has created a vast array of unique creatures with distinctive appearances and different attributes. Their hybridized looks are sometimes appealing, sometimes strange, but they always attract the attention of the viewer. When taking a closer look, however, viewers will realize that these creatures are nature's preachers, calling upon the human race to love and preserve the natural environment, and to be aware of the ethical problems lurking in the advancing field of bioscience.

Bodyscape: Patricia Piccinini showcases extremely life-like, and amazing new species. Their presence is as cautionary as it is predictive, reminding people to give more love and care to both society and nature in these turbulent times. Through audience to one version of a pure existence and to appreciate art while cherishing the world with which we are entrusted.

creating an imaginative utopian world, the exhibition guides the

策展論述 Curatorial Essay

身體風景：派翠西亞 ‧ 匹斯尼尼

匹斯尼尼以極具人道關懷角度所打造奇異的物種，彷彿隨時都會出現在生活周遭直接與人們產生情感連結。展出作品除了引

策展人：陳明惠國立成功大學創意產業設計研究所專任助理教授

介當代生物科學研究等議題外，也期待透過創作喚起對瀕臨絕種生物的關懷，及提出對於時下人們為了慾望而創造的科技生物之回應與質疑。本展覽的作品，於毓繡美術館二樓、三樓空間，共展出 35 件作品，包含攝影系列、雕塑、錄像及手稿。本

匹斯尼尼創造出來的物件，充滿敘事性的神話感。她的視覺與

展覽可分為兩大主題：「身體風景中的敘事性」與「身體風景

雕塑作品主題圍繞在我們生存的世界，例如關於受威脅的「自

中的奇異身體」，本文將依據此方向進行分析與探討。

然的、科學的」世界，這世界需要我們的關懷與回應，且這世界充滿與我們血緣相近但又不明確、奇怪，同時熟悉的生物與

身體風景中的敘事性

外來殖民者。1 敘事性是指圖像本身所影射的「故事性」。「身體風景中的敘事性」包含展出的三組攝影系列作品：《菲茲洛伊系列》、《大自然的小幫手》與《科學故事系列》。

匹斯尼尼於 2011 年創作六件名為《菲茲洛伊系列》(The Fitzroy Series) 的攝影作品。菲茲洛伊是澳洲墨爾本市中心的ㄧ個區名，藝術家在此人們已經熟悉的區域拍攝，因此這樣奇異的生物體，其實就在我們的生活周遭，可能在某巷子的ㄧ個轉角、某個街頭、某間工作室，甚至在某鄰居的家裡。《菲茲洛伊系列》作品創造一種人與奇異生物共生的環境，這些生物儘管看起來令人畏懼，但透過作品，我們可以看到這些生物溫柔且脆弱的一面，作品並呈現出奇異生物與我們緊密互動的關係。

《菲茲洛伊系列》表現人對於與我們不同的生物之包容與接納，作品尤其以孩童做為主角，傳達悲天憫人的同理心。藝術家特別以都市作為拍攝場景，她曾說：「作品裡的這些生物，都生存在一種特別的生態系統裡 (ecosystem)：我們通常不將城市視為一種生態系統，認為城市取代自然生態系統，然而，城市本身便是這地球上越來越重要，且具獨占性的生態系統，但並 13

－美國哲學家唐納 ‧ 海洛威 (Donna Haraway)

1. Haraway (2007). ‘Speculative Fabulations for Technoculture’s Generations’, http://www. patriciapiccinini.net/printessay.php?id=30，2016 年 5 月 21 日。

非所有物種皆能完全適應。《菲茲洛伊系列》最吸引我的是這

著我們，這種混種生物的存在其實離我們很近。當匹斯尼尼所

些我所創造出來的生物，如何與此生態系統的主宰者 ( 人類 ) 相

創造的生物，已於我們生活的種種層面繁衍，〈路死〉作品紀

處。」2

錄了一隻車禍死亡的混種生物，在屍體旁邊有兩隻同伴哀悼它的逝去。車禍的現場是車子行駛的夜晚大馬路，這些生物仿若

《菲茲洛伊系列》中的〈圖書館，晚上 8 點 45 分〉呈現一位緊

具人的情感，對同胞的死亡感到悲哀，且弔念、愛撫這死亡的

緊抱著怪異的男孩的女人，這女人有可能是這位男孩的母親，

生命。

她帶著堅毅的表情，雙眼凝視遠方，將這男孩緊緊抱在懷中，仿若下了強大的決心，將不顧一切保護這長相怪異的男孩。〈巷

〈領土〉一作呈現四隻獸人在一堆廢棄物中，有位像是此生物

弄，早上 11 點 15 分〉作品中的六位小孩，在菲茲洛伊的小巷子

群的長者坐在一張廢棄的小椅子上、有的攀爬在廢棄物上、有

裡追逐著一個奇異生物體，藝術家試問，這群孩童對這生物會

的正高高跳躍仿若在遊戲般。匹斯尼尼的作品往往結合自然與

給予憐憫的關愛，亦或戲弄？ 3〈客廳，下午 2 點 30 分〉作品

人為，且結合身體、生態、科技與時間概念。僅管我們無法得

呈現一個左手抱著底食動物的女孩子，她以跪姿坐在一個紫咖

知這些生物的由來與起源，藝術家藉由他們與廢棄物的並置，

啡色的座墊上。這女孩似乎若有所思，帶些憂愁的表情沉思著，

以喚起我們對於那些瀕臨絕種的動物之警覺心，呼應 HeHo 鳥

而這底食動物就像是她的寵物般，溫馴地讓這女孩抱著。作品

因人類的貪婪，大量砍伐他們棲息的林木，而導致牠們的生態

仿若真實發生過的故事所拍攝而成的紀錄照片，而這底食動物

危機。〈世外桃源〉的拍攝場景是一個極原始的森林，林木裡

很適應人類的生活環境，也享受著被細心呵護。

長滿蕨類、青苔，畫面中央橫躺著兩根枯木，匹斯尼尼創造的四隻獸人嘻戲、穿越於此林木中，且可見 HeHo 鳥也在當中。

《大自然的小幫手》是匹斯尼尼繼 2000 年創作一系列想像生物

這看似真實的場景，是藝術家以一種跨越生態學、生物學的角

體的情境攝影後，於 2005 年再次沿伸此概念而進行的攝影創

度，對生物「遺產」(heritage) 逐漸消逝的表達。

作。匹斯尼尼在 2004 年於紐約 Robert Miller 畫廊舉行的個展《雕塑》(Sculpture)，說明了創作《大自然的小幫手》的動機。

匹斯尼尼認為雕塑作品是被瞬間凝結於某時刻，而攝影作品呈

她指出作品系列中的獸人，是為了保護生存位於澳洲東方南部

現一種敘事性，暗示這情境前與情境後的發展 5。《科學故事》

維多利亞省 (Victoria) 的鳥類－頭盔吸蜜鳥（Golden Helmeted

系列攝影作品的場景在一間生物實驗室，作品裡ㄧ男一女身著

策展論述 Curatorial Essay

Honeyeaters，簡稱 HeHo 鳥）免於絕種的「保鑣」。匹斯尼

白袍實驗衣，似乎是創作這奇異生物的父母。匹斯尼尼的作品

尼認為，世界上僅存十五對頭盔吸蜜鳥，而其所創造的「保鑣」，

在過去二十年裏不斷地探討「( 父 ) 母性」、「撫育」的議題，

其工作正是為了保護 HeHo 鳥免於絕種，除了保護他們避免被

且作品中的生物是處於一種「他者」的狀態，是被視為異類且

人類侵犯，這種獸人「保鑣」是透過基因工程技術而被創造出

被宰制的客體。值得一提的是，《科學故事》系列中的生物是

來的生物，且 HeHo 鳥亦出現在《大自然的小幫手》系列中。

藝術家首次依其樣貌創作出立體的雕塑，本展覽亦展出藝術家 2015 年甫完成的作品〈新手〉，含括藝術家首件雕塑作品之攝

匹斯尼尼的作品常以其熟悉的澳洲在地場景，創作出一種與我

們日常生活相近的熟悉區域，其創造出的生物藉著安置在我們熟悉之環境，進而營造一種虛幻、似真似假的超現實感，提醒

影系列，及最新雕塑作品。

身體風景中的奇異身體

對年輕情侶的故事，這對情侶對於他們庭院長著不尋常狀似生物的植物，並不驚愕，表示這對年輕情侶看待異種生物已習以

「身體」一直是當代藝術家創作的重要題材，而本展覽《身體

為常。影片中呈現的居家環境物件亦呈現不尋常感，包含這男

風景》共展出九件以奇異生物身體創作出的立體雕塑，其中七

孩所購買超大包的蛋白質粉末、綜合維他命補給品、糖與鹽等。

件是以矽樹脂、玻璃纖維、毛髮所創作的仿人、仿獸生物。本

然而當他們兩人進入臥室，觀者便發現他們床邊躺臥著數隻不

展覽展出的錄像作品一〈溫柔〉，更以此奇異生物作為主角，

尋常的小生物，仿若是他們創造的孩子。作品中男女主角特別

因此，這七件立體雕塑與這一件錄像作品被歸為「身體風景中

以大學生為主角，匹斯尼尼認為他們常以賣精子、賣卵子的方

的奇異身體」主題。

式賺取生活費，甚至透過網路購物方式，購買人類 DNA9。因此，此作品似乎暗示一種私密的生物科學實驗，極有可能發生在年

匹斯尼尼創作的〈底食動物〉探討我們和其他生物及環境的關

輕男女之間，而這種奇異生物的孕育可能就發生在我們生活周

係。牠的面貌仿若鯊魚，身體最大的特徵是充滿皺紋肌理的臀

遭中。

部。〈底食動物〉呈現一種卑微、不起眼的生物體，且這生物專門吞食海底魚類或其它生物屍體維生。〈底食動物〉帶給觀

〈單臂之力〉裡的仿人與獸生物不像匹斯尼尼其它作品明確，

眾一種醜陋的第一印象，其實整件作品焦點在他那高高翹起，

僅是整件作品的配角，作品主角是加拿大高山羊 (Canadian

看似微笑臉孔的臀部，對匹斯尼尼而言，這似乎是此生物在物

Mountain Goat)。作品人物身穿藍色衣服，正輕易地以左手撐

競天擇的生物演化環境中，為了能生存下來所對自己樣貌進行

在山羊背上，同時狀似表演般將整個身體倒吊撐起。這生物有

的演化改變 6。

一對扁長的雙腳，狀似儒艮海牛的臉，且整個身體尚未完全演化成人類的海中哺乳動物，或是退化為海中哺乳動物的人類。

〈新手〉作品呈現一種由 CRISPR( 遺傳工程 ) 改造的生物，具

他以一種類似優雅、體操的姿態安穩倒立在羊背上，仿若安穩

有強烈的超現實感，以生物科技創造的新生物體，更呼應 2015

處於陸地與海洋之中。〈單臂之力〉看似一種馬戲團的雜技表

年中國科學家以約臺幣 5 萬元的價錢，販賣由基因工程改造的

演，及一股趨使這表演進行的權威性。透過此作品，匹斯尼尼

寵物豬，全球消費者可以購買由生物科學家所「客製」的寵物

對於生物科技所創造的生命，需對人類提供一種娛樂與服務而

表達不認同感，認為這些生物體皆具有他們自己的生命與世界，

喜歡的寵物品種，但中國藉由生物科技所創造的寵物豬是首例

不該為了服務、娛樂人群而被創作出來 10。

。僅管市面上的寵物大多已經由特定品種交配，進而產生人們

以 CRISPR 所特製的寵物，呼應〈新手〉作品呈現一種「新」的生物之概念。同時藉著作品中鞋底造型的應用，匹斯尼尼在批判人類對於「物」的迷戀，與對特殊物件的蒐集癖好 8。

2. 藝術家創作自述。Piccinini, ‘The Fitzroy Series’ (2011). 3. 藝術家口述，毓繡美術館，2016 年 5 月 20 日。 4. 藝術家創作自述。Piccinini, Patricia (2004). ‘Bodyguard’。原為紐約 Robert Miller 畫廊展覽創作自述。 5. 同上。

〈代理人〉一作受啟發於「代理孕母」的概念，本作品呼應展

6. 與藝術家對談，2016 年 5 月 20 日。

出〈溫柔〉一作，指母親身體做為孕育下一代的載體。作品中

http://www.theguardian.com/world/2015/oct/03/micropig-animal-rights-genetics-china-

那溫柔淺藍色調的帳篷，是匹斯尼尼特地製作的「家」，以供「代

8. 與藝術家對談，2016 年 5 月 20 日。

理人」一個可休憩之住所。展出的錄像作品〈溫柔〉，呈現一

7. Cyranoski, David. ‘Gene-edited “micropigs” to be sold as pets at Chinese institute’,

9. 同上。 10. 藝術家創作自述，電子郵件，2016 年 4 月 11 日寄。

pets-outrage, published on 29 September 2015, accessed on 20 April 2016.

本展覽亦展出一件由毓繡美術館所典藏的作品〈迎接賓客〉。

Feminisms) 的開館首展，此展覽邀請全球著名女性藝術家參展，

〈迎接賓客〉作品包含四個部分：一個小女孩、異形生物體、

議題涉及不同種族文化下女性對於社會、政治、經濟、種族、

一隻孔雀、一張木床，這些生物與物件之間關係不尋常，象徵

性別等議題之探討 13。匹斯尼尼受邀以〈大母親〉(Big Mother)

一種匹斯尼尼欲呈現的特殊意含：批判世俗美醜之既定概念。

作品參展《全球女性主義》，並呈現藝術家長久關懷的議題：

〈迎接賓客〉作品靈感來自於歌德的經典名言「美麗比比皆是，

母性 (motherhood)。《身體風景》亦展出多件關於「母性」議

應待之如上賓」，本作品有意將童話故事現實化。匹斯尼尼藉

題的作品，「人類本身存在的天性與女性特質」是匹斯尼尼經

著孔雀象徵美麗事物，美在孔雀的生存中不具保護作用，也不

常探討的主題，僅管作品裡受呵護的對象或是象徵母親的個體

利於牠覓食，因此在自然演化過程中，牠美麗的羽毛似乎是一

往往是長相奇異的生物，但作品裡散發出的關愛與母性情感，

種非必要之美，那麼，孔雀的美麗除了使牠能繼續繁殖生存，

極令人感動。

是否具有特別的存在意義 ? 此作品具有充滿視覺張力和緊張氣氛的戲劇現場，但在小女孩眼中，她對形體沒有既定的刻板印

匹斯尼尼作品僅管充滿奇特氛圍與魔幻氣質，藝術家透過創作

象，反而張開雙手迎接眼前的奇異生物，而非美麗的孔雀。

提出生物科技對人類生活的影響與質疑，批判人類的科技發展及人性的貪婪，嚴重危害他種生物的生存空間。匹斯尼尼的作

全球女性主義

品往往具有奇幻的魔力，她以日常生活物件與我們熟悉的場景作為場域，僅加入其想像中的生物，整個視覺畫面瞬間產生一

匹斯尼尼在 2003 年於日本東京藝術大學的ㄧ場演講中指出：

種超現實感，這種不尋常的「另類世界」，其實與我們真實世

「在我的作品中，或許我在表明，不論你是否喜歡牠們 ( 由生物

界只有一線之隔，匹斯尼尼的作品象徵這種透過生物科技所改

科學技術所創作的生物 )，既然我們已經創造牠們，我們就有義

造的生物體，似乎早已存在於我們日常生活中，如影隨行。

務照顧牠們。12」匹斯尼尼的作品探索因生物科技發展所涉及之道德議題，作品沒有直接指出基因工程帶給人類生命影響的對錯，反倒是以藝術家本身具有的溫柔、纖細之女性特質，來想像生命科學可能創造的生物體，其對人類生活之影響，及未來與這些生物共同生活之可能性與樣貌。縱觀匹斯尼尼過去 15 年的創作，她的作品一直涉及對於人工與自然的批判，不論是平

藝術，皆對於科技、道德、生命醫學等議題提出強烈、但又非二元絕對性的批判。

2007 年 3 月紐約策展人莫拉 ‧ 雷利 (Maura Reilly) 與著名女

11. 藝術家創作自述。Piccinini, ‘The Welcome Guest’ (2011).

性主義學者琳達 ‧ 諾克林 (Linda Nochlin) 在紐約布魯克林女

12. 匹斯尼尼引言，收錄於 Haraway (2007), ‘Speculative Fabulations for Technoculture’s

性藝術主義美術館 (Brooklyn Museum’s Elizabeth A. Sackler

13. Reilly, Maura. ‘Art Essay: Curating Transnational Feminisms’, Feminist Studies, 36, no. 1,

策展論述 Curatorial Essay

面攝影作品、立體雕塑、影像裝置，甚至近年創作之現場表演

Center for Feminist Art) 策劃一場名為《全球女性主義》(Global

Generations’, op cit. 2010, pp. 156-173；也請參考紐約布魯克林女性主義美術館網站介紹：www.brooklynmuseum. org/exhibitions/global_feminisms，2016 年 6 月 1 日。

Bodyscape: Patricia Piccinini

With passion and care, Patricia Piccinini has been creating her imaginary creatures, which seem to live alongside with us and have built emotional connections with us. The

Curator: Ming Turner

exhibition, Bodyscape: Patricia Piccinini , deals both with issues surrounding bio-science, and intends to raise awareness for any creatures which are at risk of extinction. The exhibition is displayed on the second and third floors of the museum,

Piccinini's objects are replete with narrative speculative

and features 35 pieces of work, including photography series,

fabulation. Her visual and sculptural art is about worlding; i.e.,

sculptures, a video and drawings. This curatorial article will

‘naturaltechnical’ worlds at stake, worlds needy for care and

analyse Piccinini’s works under two themes, i.e. the ‘Narratives

response, worlds full of unsettling but oddly familiar critters

of Bodyscape’ and the ‘Imaginative Body of Bodyscape’.

who turn out to be simultaneously near kin and alien colonists. The Narratives of Bodyscape

- Donna Haraway (2007)

A narrative is a story of real or imaginary events. This category covers three photography series, including The Fitzroy Series,

Nature’s Little Helpers and the Science Story series. In 2011, Piccinini created six photographic works, entitled The

Fitzroy Series . Fitzroy is an area in the city centre of Melbourne in Australia, where Piccinini created these images. Because she utilises familiar neighborhood areas and landscapes, the imaginary creatures created by Piccinini seem to live just around the corner from where we are; e.g. a street corner, a studio or someone’s house. The Fitzroy Series creates a kind of environment where people and mythicised creatures share the same living environment. Despite the fact that these creatures are odd-looking, viewers should notice their tender and venerable characteristics and the intimacy which exists between us and them.

The Fitzroy Series visualises people’s acceptance and tolerance of other creatures. By adopting children as the main characters in the work, Piccinini intends to express her care for vulnerable

1. Haraway (2007). ‘Speculative Fabulations for Technoculture’s Generations’, http://www. patriciapiccinini.net/printessay.php?id=30, accessed on 21 May 2016.

people and creatures. She deliberately utilises characters placed

in an urban landscape, which form the background settings of

creatures in photographs in 2000. During Piccinini’s solo

her work, about which she has stated that

exhibition, Sculpture , at the Robert Miller Gallery in New York, she indicated that in Nature’s Little Helpers , the humanoids

Both these figures are creatures which are at home in

(quasi-human and quasi-monkey creatures) were created to

their particular ecosystem, which is the urban. We don’t

protect Golden Helmeted Honeyeaters (HeHo) in Victoria

tend to think of the urban environment as an ecosystem.

in the Southeastern part of Australia, to save them from

We usually imagine it as something which has replaced

extinction.4 Piccinini discovered that there were only 15 pairs of

an ecosystem with something else, however, it is an

HeHo remaining in the world, and the creature she created was

increasingly dominant ecosystem on this planet, and one

intended to protect this bird from people. Consequently, this

to which not many species are well adapted. My interest

genetically engineered creature exists as a ‘bodyguard’ for the

in these images is how these creatures interact with the

HeHo, which also appears in some of the works in this series.

species that most dominates this particular environment: humans.2

Piccinini often employs familiar and identifiably Australian landscapes (rural or urban) to create her work, through which

Library, 8.45pm of The Fitzroy Series depicts a woman cuddling

she creates a mythicised and surreal atmosphere. Furthermore,

a boy whose face has features of other animals. Looking

her works seem so real and familiar to us that they connect

into the far distance, the woman could be this boy’s mother,

very closely with our everyday lives. Meanwhile, this man-made

who exhibits a firm and strong sense of determination in her

bodyguard creature has adapted to the human environment so

expression and demeanour, as if she would do anything to

well, its numbers have begun to grow and they now engage

protect this boy.

in all levels of our everyday lives. Roadkill depicts a dead humanoid, killed by a car on a main road, which is surrounded

In the work, Alley, 11.15am , there are six children running after

by its ‘family’ members who appear to show great sorrow

a strange creature in a small alley The artist asks whether the

about their fellow creature’s death. The creatures behave like

children are playing with the creature or were they perhaps

people, touching the body and expressing grief about the loss

策展論述 Curatorial Essay

teasing him?

of their friend or family member.

Sitting Room, 2.30pm presents a girl cuddling a bottom feeder

Domain visualizes four of the bodyguard creatures gathering

with her left arm while sitting comfortably on a sofa in a living

on a pile of rubbish. One of them sits on a chair, as if he

room. The girl looks as if she is lost in deep thought, and the

is the leader or the oldest member of this family. Another

strange-looking creature in her arm looks like her pet resting

climbs on the rubbish, while a third is jumping over the pile.

gently at her side. All of the works in this series seem more like

These creatures do seem to be enjoying playing around at

documentary photographs rather than digitally manipulated

this location. Piccinini’s work often combines the natural

images, suggesting that the narratives in the works are dealing

and the artificial, and it connects the body, the environment,

with real events from the past. The bottom feeder, the main

technology and the concept of time. Although Piccinini hasn’t

creature featured in this series, seems to have integrated very

indicated the origin of this particular creature, by locating it

well into people’s lives.

on a rubbish heap, she is perhaps suggesting to viewers that

all creatures are precious and require our care and attention. The Nature’s Little Helpers series was created in 2005,

The logical conclusion of this is that the HeHo is in danger

following Piccinini’s first experience of including her imaginary

of extinction because of the way people are damaging the

natural environment. Arcadia is set in a forest, which is full of

as a consequence of which the bottom of the sea remains

ferns, moss and old trees. Two HeHo birds can be seen in the

clean. On first impressions, viewers are likely to think the

image, and four humanoids are playing in the woods. From

Bottom Feeder is ugly, yet the focus of this piece is its bottom,

the perspectives of ecology and bio-science, these semi-real

which indeed looks like a friendly, old, wrinkled smiling face.

views are a manifestation of the artist’s concerns about the

For Piccinini, Bottom Feeder seems to have forced itself to

dispearance of our natural heritage.

transform its appearance to please people, and thus to survive through the process of evolution by reducing its chances of

Piccinini thinks that sculptural work is like catching a frozen

being killed and becoming extinct.6

moment in a process, while a photograph presents narratives and suggests consequences.5 The Science Story series (2001)

Piccinini’s The Rookie (2015) takes the form of a surreal creature

was created in a laboratory, where a man and a woman are

created via CRISPR (Clustered regularly interspaced short

both wearing the white gowns of bio-scientists, but who also

palindromic repeats). This quasi-bio-scientifically generated

seem like the parents of a strange creature. Both parenting and

creature responds to some recent controversial news from

nurturing have always been a focus of Piccinini’s work, and the

China which revealed that since 2015, Chinese bio-scientists

two scientists who have apparently created this creature in a

have been working to genetically produce ‘customer-ordered’

bio-scientific experiment seem to be behaving as if they are its

micropigs as pets for customers worldwide.7 Despite the fact

parents. It is worth mentioning that the creature in the Science

that the majority of pets are already artificially genetically-bred,

Story series was originally a computer-generated image, but it

the micropigs from China are the first customer-ordered pets

became the first sculptural work created by Piccinini based on

produced via CRISPR to be made available on the market.

an imagined two-dimensional creature.

This news also relates to the motif of creating ‘newness’ in the hybridised creature The Rookie, which combines both a

The Imaginative Body of Bodyscape

human baby and an object, namely the sole of a football boot. By utilising a football boot, Piccinini also takes a critical look

The body has long been an influential theme in contemporary

at people’s fetishism of objects, including shoes and other

art practice. In Bodyscape , nine pieces of sculptural work

personal belongings.8

are displayed, featuring the hybridised forms of people and animals. Among them, seven pieces have been created with

Inspired by the concepts of a surrogate mother, Surrogate

fiberglass, silicone and human hair, while the remaining two

(2005) was created by the artist. The work also relates to

pieces are made from bronze and steel. In addition, Bodyscape

the video Tender , where the young woman is depicted as a

also includes the video work, Tender (2014), which connects

surrogate mother who nurtures young hybridised creatures.

powerfully among several sculptural pieces in the exhibition. Piccinini created Bottom Feeder (2009) to explore the

2. Artist’s statement, The Fitzroy Series , by Patricia Piccinini (2011).

relationship between ourselves, other creatures and our

3. Artist’s interpretation for exhibited work at Yu-Hsiu Museum of Art on 20 May 2016.

environment. Bottom Feeder ’s head and face was inspired by

Gallery in New York.

sharks, yet its most powerful feature is its bottom, which is

5. Ibid.

full of wrinkled skin and muscles. Bottom Feeder represents

7. Cyranoski, David. ‘Gene-edited “micropigs” to be sold as pets at Chinese institute’, www.

an insignificant figure, similar to a shark which relies on

theguardian.com/world/2015/oct/03/micropig-animal-rights-genetics-china-pets-outrage,

rotting fish or other creatures in the sea as its main food,

8. Artist’s interpretation at the Museum on 20 May 2016.

4. Artist’s statement. Piccinini, Patricia (2004). ‘Bodyguard’, originally published by the Robert Miller

published on 29 September 2015, accessed on 20 April 2016.

6. Artist’s interpretation of the work exhibited at Yu-Hsiu Museum of Art on 20 May 2016.

In Surrogate , a light blue tent with delicate embroidery was

features four parts, including a girl, a creature, a peacock and

specially made as a beautiful and comfortable home for the

an antique bed. There is an unusual connection between

creature to raise and nurture her babies. The home of the

these parts, through which Piccinini intends to challenge the

surrogate in the video, Tender , is an unusual place where

stereotypes of our conceptions of the beautiful and the ugly.

strange plants are growing in the garden. It looks like a secret

The Welcome Guest was inspired by a quotation by Goethe,

home, where the young couple are undertaking some secret

‘Beauty is everywhere a welcome guest’.11 Piccinini has utilised

experiments which they do not wish to be discovered. In

a peacock to symbolise beauty, nevertheless, the beauty of a

Tender , the young man comes home with large jars of protein

peacock doesn’t perform any protection for him, other than

powder, salt, sugar, vitamin tablets, etc., which suggest

assisting him to survive in the competitive nature of evolution,

something unusual happening in their house. When the young

i.e. to attract a mate. The work has dramatic characteristics and

couple appears to be embarrassed and shy walking into their

contains strong visual elements. In this piece, the girl opens

bedroom, viewers are likely to be surprised to see several

her arms embracing the ugly-looking creature rather than

strange small creatures moving gently at the corner of the bed.

the beautiful peacock. The Welcome Guest challenges our

It appears as if the creatures are their children. It is evident that

stereotypical perceptions of beauty and ugliness, and the good

young people sell their eggs and sperm to raise some income,

and the bad.

and that people’s DNA is available for purchase online. Hence, the suggestion is that the young couple are conducting some

Global Feminisms

private and secret bio-scientific experiments. It is not difficult to imagine that this could happen among people we know in our

During a talk delivered by Piccinini at Tokyo University of the

real lives.

Arts in 2003, she stated that ‘In my work, perhaps I am saying

策展論述 Curatorial Essay

that whether you like them or you don't like them, we actually The imagined creature in The Strength of One Arm (2009)

have a duty to care. We created them, so we've got to look

does not seem to be the focus of the whole work. Rather,

after them’.12 Piccinini’s work deals with ethical issues related

the Canadian Mountain Goat looks more like the key figure of

to the development of bio-technology. However, it doesn’t

the piece. The creature wears a blue costume and gently and

indicate directly whether the impact of bio-science on people’s

skilfully lifts his body up on the goat on his left arm, resembling

lives is right or wrong, rather, with her qualities of tenderness

a circus performer. It has a pair of long, flipper-like feet, and

and femininity, her work visualises the possible scenario in our

its face is similar to that of a dugong. The creature’s body

life, as influenced by the development of bioscience in the

appears to be in the process of evolving from a mammal in the

future. It also suggests the kind of imaginary creatures which

ocean to a human, or perhaps vice versa. There seems to be a

might be created in the future and how they might live with

hierarchical relationship between the creature and its viewers,

us. Examining Piccinini’s work from the past 15 years, it is clear

as the creature appears to be forced to perform as a kind of

that it always deals with issues related to the natural and the

service to the audience. Through creating this work, Piccinini is

artificial, while critically challenging the themes of technology,

expressing her belief that any creatures created by man should

ethics and life medicine. Nevertheless, her work does not aim

have their own rights, and they should not be treated simply as

to identify any answers to the questions she asks. Rather, her

objects to provide us with entertainment.

art creates an opportunity for viewers to think and re-consider

the impact of bio-technology in our lives.

Bodyscape also includes The Welcome Guest (2011), which is now part of the Museum’s own collection. The work

In March 2007, the New York-based curator Maura Reilly and

the internationally renowned feminist scholar, Linda Nochlin, co-curated the inaugural exhibition, Global Feminisms , at Brooklyn Museum’s Elizabeth A Sackler Center for Feminist Art. The curators invited several women artists to participate, and it explored a wide range of themes on women’s engagement with different cultures, politics, economics, ethnicities and gender.13 In Global Feminisms , Piccinini exhibited Big Mother (2005), which addressed the issue of motherhood, which is also the main theme of the Bodyscape exhibition. Motherhood and femininity is a major aspect of human nature and this is what Piccinini’s work has been exploring. Although what is being nurtured, or what symbolises the mother could be oddlooking, undoubtedly, her work displays strong and touching characteristics of care, motherhood and love. Piccinini’s work is full of mythical and magical properties. Through her art, she questions how our lives might be reshaped via bio-science and how people’s greed could affect other creatures’ lives. Piccinini’s art is powerful and influential, and by utilising objects and settings with which we are familiar in our everyday lives, her work brings her imagined creatures to life. Her unusual, alternative world overlaps with the real world and what she creates isn’t simply something from her imagination but rather is something that has been integrated within us.

9. Ibid. 10. Artist’s statement sent as an email correspondence on 11 April 2016. 11. Artist’s statement, Piccinini, ‘The Welcome Guest ’ (2011).. 13. Reilly, Maura. ‘Art Essay: Curating Transnational Feminisms’, Feminist Studies , 36, no. 1, 2010, pp. 156-173. Also on the website of Brooklyn Museum’s Elizabeth A Sackler Center for Feminist Art: www.brooklynmuseum.org/exhibitions/global_feminisms, accessed on 1 June 2016.

12 Available in Haraway (2007), ‘Speculative Fabulations for Technoculture’s Generations’, op cit.

圖錄 | Plates

身體風景

Bodyscape

派翠西亞 ‧ 匹斯尼尼

Patricia Piccinini

《身體風景》是指由「身體」所構成的景象，這種風景並非一

Bodyscape focuses on an imaginary landscape composed of

般認定的自然風景，而是經過匹斯尼尼所獨創的混種生物、事

unique and mythicized ‘bodies’. This isn’t a typical landscape of

件場景交融敘事後，所形塑出的奇幻身體風景。本展透過多元媒材創作介紹匹斯尼尼十五年來的藝術精華，共展出三組攝影

natural scenes, but rather it is a fantasized landscape created by Patricia Piccinini, featuring hybridized creatures and quasireal narratives. This exhibition presents a very specific selection

系列作品，包含《大自然的小幫手》(2005)、《菲茲洛伊》(2011)

of artworks in various media, which have been created by

、《科學故事》(2001-2002)、九件雕塑、一部錄像作品〈溫柔〉

Piccinini during the past fifteen years, including three series of

(2014)，及首次公開展示的創作手稿。

photographs, Nature’s Little Helpers (2005), The Fitzroy Series (2011), Science Story (2001-2002), nine pieces of sculpture,

匹斯尼尼的作品具有奇幻的魔力，刻意將想像的混種生物介入

one video work, Tender (2014), and several sketches which are being displayed in public for the first time.

熟悉的日常生活環境和物件，創造一種超現實不尋常的「另類世界」，彷彿藝術家以人道關懷角度所打造的奇異物種，隨時

While Piccinini’s work is magical in nature, it utilizes everyday-

都會出現在生活周遭與人們直接產生情感連結。展出作品除了

life objects and scenarios as its background and its motifs,

引介當代生物科學研究等議題外，也期待透過創作喚起對於瀕臨絕種生物的關懷，及提出時下人們為了慾望而創造的科技生物之回應與質疑。

through which she deliberately creates a surreal world, or ‘another world’, populated with hybridized and imaginary creatures. Piccinini has created these fantasized beings which, with their recognizably human characteristics, seem so real that viewers are able to establish emotional relationships with them in their daily routines. The exhibited works explore the discourse of contemporary bio-technology, as well as raising awareness of animals which are increasingly at risk of extinction. Ultimately, Piccinini’s art questions human desire, alongside the issues of bio-technology, and how this affects

圖錄 Plates

people’s lives.

攝影系列作品 | Series of photographs 畫冊收錄三組攝影系列作品，《菲茲洛伊》(2011) 、《大自然

In the exhibition, three photographic series are on display,

的小幫手》(2005)、《科學故事》 (2001-2002)。

including The Fitzroy Series (2011), Nature’s Little Helpers (2005), and Science Story (2001-2002).

菲茲洛伊系列 (2011) 2011 年匹斯尼尼受到澳洲墨爾本市的菲茲洛伊之當代攝影中心

The Fitzroy Series (2011) In 2011, Piccinini was invited to exhibit at the Centre for

(Centre for Contemporary Photography) 邀請，展出《菲茲洛

Contemporary Photography, Melbourne, Australia. As it was

伊》系列作品，同時也是在慶祝此機構成立二十五周年館慶，

the 25th anniversary of the institution, the artist specially used

因此，藝術家特別在此地區取景創作，這個系列作品就以此地

the location as the backdrop against which to make a series

為名，富有獨特的意涵。《菲茲洛伊》系列充斥一種飽和且深沈的色彩，這樣的色調為匹斯尼尼的創作賦予了一種浪漫情調，

of work named Fitzroy after the area itself, giving it a unique meaning. The colors of The Fitzroy Series are saturated and dusky, rendering the work with a romantic air. Whether

不論是基因工程下的變種孩童，或是專吃垃圾的「底食動物」，

the genetically engineered child or the scavenging Bottom

皆因畫面色調而顯得極具詩意。作品場景 (mise-en-scène) 的

Feeder, they are all incredibly poetic thanks to the color tones

配置亦加深這樣的浪漫性，場景物件包含：書、臥室、工作室、

employed. The use of mise-en-scène increases the romantic

客廳等，皆使觀者對作品裡暗示的故事性存有一種親切感。

quality of the work. The objects used in the scenes of this series include books, a bedroom, a workshop and a living room, among others, which provide the audience with a sense of

《菲茲洛伊》系列作品欲陳述這些奇異的生物體與我們之間有

familiarity about the implied stories.

著緊密的關係，凸顯人們似乎已經接納與包容異種生物的狀態，

較於一些奇怪的或是外來的地景，我總覺得熟悉的當地景物更貼近我的作品，所以我總是將這些生物置於生活周遭的環境中，

The Fitzroy Series reveals the close relationship between the peculiar creatures and the humans, emphasizing how people seem to have accepted and now live with the alien creatures. The series mostly portrays children to convey feelings of

以提醒大家，牠們與我們非常密切，因為這樣，也改變了日常

compassion and empathy. Piccinini said herself, “I have always

生活空間的觀點，並增添另一層特殊的意義。」(2011)

felt that the familiar and the local are more relevant to my work than the strange and alien. I am always looking for ways to locate these creatures in a world that we know, to remind us of their closeness. However, this also changes how we look at these everyday spaces, adding another layer to them.” (Piccinini,

The Fitzroy Series . 2011)

作品多以孩童為主角，傳達一種悲天憫人的同理心。她提到：「相

圖錄：攝影系列 Plates: Series of photographs 26

〈巷弄，早上 11 點 15 分〉描述在菲茲洛伊巷弄中一群孩童追逐

Alley, 11.15am depicts a group of children chasing a Bottom

著一隻底食動物。這場景對於當地居民來說就好像剛剛才在路

Feeder in an alley in Fitzroy. The scene seems to portray

上撞見的景象，也彷彿是居民們幼年時在巷弄間追、趕、跑、跳、碰的回憶，在這般似曾相識的情境中，藝術家刻意安排一隻底

something that could happen to local residents on the street. It might also be a recreation of a memory of local residents playing in an alley when they were children. In such a scene,

食動物，形構出一種似真、似假的超現實狀態，也為底食動物

with its underlying sense of déjà-vu, the artist specifically places

增添了不少真實性。

a Bottom Feeder, simultaneously rendering the image surreal and the Bottom Feeder more credible.

巷弄，早上 11 點 15 分相片 | 100 x 160 公分 | 2011 年 Alley, 11.15am C-Type Photograph | 100 x 160 cm | 2011

工作室，晚上 7 點相片 | 100 x 160 公分 | 2011 年 Workshop, 7.00pm C-Type Photograph | 100 x 160 cm | 2011

圖錄：攝影系列 Plates: Series of photographs 28

客廳，下午 2 點 30 分相片 | 100 x 160 公分 | 2011 年 Sitting Room, 2.30pm C-Type Photograph | 100 x 160 cm | 2011

圖書館，晚上 8 點 45 分相片 | 100 x 160 公分 | 2011 年 Library, 8.45pm C-Type Photograph | 100 x 160 cm | 2011

〈臥室，晚上 10 點 30 分〉畫面的場景在一個小男孩臥室，他右手抱著一隻玩偶，正在床上呼呼大睡，畫面的對角線站著兩隻底食動物，右下方的生物正望向小男孩，另外一隻，似乎正想要搖醒熟睡的小男孩。儘管底食動物的樣貌怪異，但他們擁有如孩童般的好奇心，像是想和小男孩一同遊玩而闖入他的臥室。匹斯尼尼因想像而創造的生物，具有如人一般的情感，牠們與人類除了外表上的差異外，其實是很親近的。

Bedroom, 10.30pm reveals a scene of a little boy in his bedroom. He is holding a stuffed toy with his right hand and is sound asleep. At opposite corners of the image stand two Bottom Feeders. While the one at the lower-right corner is quietly studying the little boy, the other appears to be waking him. Despite their peculiar looks, Bottom Feeders actually possess a child-like curiosity. They have charged into the boy’s room wanting to play. Piccinini’s imagined creatures have human emotions and appear to be very close to

‹ 街道，清晨 3 點 10 分

臥室，晚上 10 點 30 分相片 | 100 x 160 公分 | 2011 年

Street, 3.10am C-Type Photograph | 100 x 160 cm | 2011

Bedroom, 10.30pm C-Type Photograph | 100 x 160 cm | 2011

‹

相片 | 100 x 160 公分 | 2011 年

human beings in spite of the obvious physical disparity.

大自然的小幫手系列 (2005) 本展覽展出 5 件名為《大自然的小幫手》(Nature’s Little Helpers) 的攝影作品，這系列是繼匹斯尼尼 2000 年將虛構生物們融入日常情境之後，2005 年再度延續的攝影創作。在 2007 年與 Laura Fernandex Orgaz 的訪談中，匹斯尼尼針對《大自然的小幫手》系列作品中的生物提到：「他們原本是拯救受困之鳥的「保鑣」，這種生物是透過基因工程技術而被創造出來的，牠們強而有力的下顎，能夠輕易的咀嚼樹木，轉化成頭盔吸蜜鳥（HeHo 鳥）的食物。然而這種生物非常適應人類的生活環境，因此便大量的從森林、甚至都市的各個角落繁殖起來，逐漸威脅到人類的生活。」這些狀似猴子的保鑣，臉部充滿縐紋貌似老人，且背部長著似龜殼的深咖啡色特殊硬殼。這些外貌特殊的生物，不論是從生物科技繁衍而生，或是大自然演化結果，牠都已經很適應且能夠輕易地在人類的生活環境中與萬物共融。

Nature’s Little Helpers (2005) Five works, collectively titled Nature’s Little Helpers , are showcased in the exhibition. This photography series, created in 2005, is a continuation of Piccinini’s endeavor to integrate her imaginative creatures in everyday scenarios in 2000. In an interview with Laura Fernández Orgaz in 2007, Piccinini talked about the creatures in Nature’s Little Helpers , explaining how ”they depict a species that I conceived as a bodyguard for an endangered bird. The creature is genetic engineered. He

圖錄：攝影系列 Plates: Series of photographs

has powerful jaws that allow him to bite into trees, to provide The Golden Helmeted Honeyeater, or HeHo, with sap. In the photographs, we see that this creature is so well adapted that it has spread out from the forests to the fringes of the everexpanding city, coming into conflict with humans.” (Piccinini,

The Naturally Artificial World . 2007) These bodyguards are monkey-like. Their wrinkled faces remind the audience of old people, and they have dark brown, turtle-like backs. Whether they have been produced through biotechnological means or natural evolution, they have already adapted to and share a

living environment with human beings and other species.

展場圖 | Artworks in Yu-Hsiu Museum of Art

圖錄：攝影系列 Plates: Series of photographs

世外桃源相片 | 80 x 160 公分 | 2005 年

Arcadia C-Type Photograph | 80 x 160 cm | 2005

〈路死〉作品紀錄兩隻「保鑣」生物正在哀悼因交通事故而身

Roadkill documents two "bodyguard" creatures mourning the

亡的同伴。命案現場位於夜間的大馬路上，雷同於澳洲常見的

death of one of their kin killed in a traffic accident. The scene of

新聞：野生動物們因夜間跨越馬路而被急行的轎車撞死的意外。匹斯尼尼所創造的異種生物，同樣在自然界中繁衍且散佈在我們生活的種種層面，因此，同樣的意外也會降臨在牠們身上。

the accident is a road at night, a sharp reminder of a common occurrence in Australia, which is wildlife crossing roads being killed at night by vehicles travelling at high speeds. The alien creatures created by Piccinini also reproduce in nature and live among us, so it is likely that they will fall victim to the same kind

匹斯尼尼特別喜愛〈路死〉這件作品，並認為：「凝視這件作

圖錄：攝影系列 Plates: Series of photographs

品會有種悲憫的情緒湧上，但那只是短暫的，很快便會因為牠們過度繁殖而造成環境破壞等問題，削弱了對於這些物種的憐

of accidents. Piccinini likes Roadkill in particular becasue she thinks "there is a real pathos in the scene, but it is tempered by the realisation

憫。」其作品常以悲天憫人的態度，關愛這些她所創造位處弱

that these creatures, because of their success, may have

勢的生物們。

become a danger to the ecosystem they are supposed to protect." (Piccinini, The Naturally Artificial World . 2007) Piccinini's work often pays attention to the disadvantaged animals she has created with a compassionate attitude. Nonetheless, this work also reveals that she is concerned about the imbalance between human beings and other living

路死相片 | 80 x 160 公分 | 2005 年 Roadkill C-Type Photograph | 80 x 160 cm | 2005

creatures, as they reproduce in large numbers.

Thunderdome C-Type Photograph | 80 x 160 cm | 2005

飛車賽相片 | 80 x 160 公分 | 2005 年

〈侵犯〉作品可見四隻生物正攀爬在一棟施工中的民房屋頂上，

Encroachment shows four creatures climbing on the roof of a

畫面右方正在工作中的工人，似乎正與其中一隻「保鑣」交談

house under construction. The worker on the right seems to

著，左下方的白色轎車，與右邊交談中的人獸們，形成了一種平穩的畫面構圖。有別於此系列的其他作品，「保鑣」們遠離

car on the left of the image and the animals and human on the right create a balanced structure. Different from other works in

了森林、馬路旁或者市郊外，他們反而大膽的直接侵入人們生

this series, the "bodyguards" in this work have left the forest, the

活的場域，似乎也正宣示著牠們逐步侵略著這片土地；進而抗

roadside, or the suburbs, directly and boldly encroaching on

議人類的過度開發，導致迫害到頭盔吸蜜鳥（HeHo 鳥）的生存

people's living areas. They seem to be declaring that they are

狀態。

gradually invading this land while protesting against people's over-development which is endangering the survival of the helmeted honeyeaters.

圖錄：攝影系列 Plates: Series of photographs 40

be communicating with one of the "bodyguards." The white

侵犯相片 | 80 x 160 公分 | 2005 年 Encroachment C-Type Photograph | 80 x 160 cm | 2005

Domain C-Type Photograph | 80 x 160 cm | 2005

領土相片 | 80 x 160 公分 | 2005 年

科學故事系列 (2001-2002) 匹斯尼尼早期的作品一直關注「生命倫理學」 (bioethics) 的議題，同時也向發展中的生物科技提出質疑。著名學者唐納海洛威 (Donna Haraway) 曾說：「匹斯尼尼大部分的作品皆涉及生物科學中的生物混種實驗，且進一步創作出一種只有在藝術領域才存在的「新世界」。」(2007)。

幹細胞研究、基因工程、生物複製、生物電子學等關於生物研究的詞彙經常出現在匹斯尼尼的作品論述中，而她以人道關懷的角度，探究這些特異生物內心的感受及與人類的相互關係。匹斯尼尼認為：「我們的生活，早圍繞著被基因工程及生物科技所改造的食物與動物。」(2011) 匹斯尼尼所創作的生物，雖醜怪、不尋常，但往往不具有攻擊性，相反地，他們往往是處於弱勢，且極易受傷害的角色。

Science Story (2001-2002) Piccinini’s earlier work paid consistent attention to the issues of bioethics, while also questioning the development of biotechnology. The renowned scholar, Donna Haraway, once said, "most of Piccinini’s works are premised on bioscientific practices of manipulation and alteration of living beings, of creating ‘new worlds’ if ‘only’ in art." (Haraway, ‘Speculative Fabulations for Technoculture’s Generations’. 2007).

圖錄：攝影系列 Plates: Series of photographs

Biotechnical terms, such as stem cell study, genetic engineering, cloning, bioelectronics, etc., can often be seen in Piccinini's writings. From a humanitarian perspective, she explores the inner feelings of these spectacular creatures and their relationships with humans. In her opinion, “we are surrounded by hidden genetic engineering and biotechnology in our food and our animals already.” (Piccinini, The Fitzroy Series . 2011) The creatures created by Piccinini might seem somewhat grotesque and peculiar, but they are often very gentle

and vulnerable, and easily subject to harm.

道德議題相片 | 80 x 160 公分 | 2001 年 Ethical Issues C-Type Photograph | 80 x 160 cm | 2001

〈道德議題〉場景是在一個狀似生物實驗室的空間，作品裡有

The scenario depicted in Ethical Issues looks like a bio-

一男一女身著實驗袍。右側的女人正雙手抱著一隻奇異的生物，

laboratory, with both the man and the woman wearing lab

毛巾的檯座，左手做出指引的手勢，暗示一場即將進行的生物實驗與檢視。

coats. On the right, the woman is holding a strange creature, while the man on the left is looking intently at the creature. He is patting the lab table with his right hand and gesturing with his left, implying that a biological experiment and inspection is underway.

而左側的男人雙眼嚴肅地凝視這生物，右手輕拍著鋪著深藍色

圖錄：攝影系列 Plates: Series of photographs 44

實驗室程序相片 | 80 x 160 公分 | 2001 年 Laboratory Procedures C-Type Photograph | 80 x 160 cm | 2001

〈實驗室程序〉似乎是接續〈道德議題〉而發展的實驗步驟。匹斯尼尼認為雕塑作品是被瞬間凝結於某時刻的樣態，而攝影作品呈現的是一種敘事性，暗示著情境前與後的發展。在〈實驗室程序〉作品中，這隻生物似乎已經完成被檢視的程序，並由穿著實驗室白衣的男人抱起，而右側女子也正脫下實驗手套。由男人臉上的微笑，說明了他們相當滿意這次檢視的結果。

作品中的這生物是處於一種「他者」的狀態、被視為異類的客體。匹斯尼尼的作品具備著奇幻的魔力，藝術家僅在我們熟悉的日常生活場景中安置了這些奇異生物，但整個視覺卻瞬間產生了超現實感，這種不尋常的「另類世界」是藝術家刻意營造出來的假想，有意提醒人類需更謙虛的對待世間萬物，且尊重異已的生物體們。

Laboratory Procedures seems a follow-up to Ethical Issues . For Piccinini, a sculpture seems something "forever frozen" at a certain moment. On the other hand, photography speaks a kind of narrative, implying "a continuum of action." (The Fitzroy

Series . 2011) In Laboratory Procedures , the inspection of this creature already seems to have been completed. The creature is carried by the man, while the woman is taking off her lab gloves. Judging by the satisfied smile on the man's face, the inspection results seem to be quite pleasing . The creature in this series is actually an "other," an object deemed alien by humans. Piccinini's work is fantastic and magical. By placing the strange creatures in everyday scenarios that are familiar to most of us, the visual presentation becomes surreal. This unusual, alternative world is a deliberate fabrication by the artist to remind mankind to treat all living beings with modesty and to respect any creatures which happen to be

different from us.

圖錄：攝影系列 Plates: Series of photographs 46

研究方法相片 | 80 x 160 公分 | 2001 年 Research Methods C-Type Photograph | 80 x 160 cm | 2001

Thesis and Conclusions C-Type Photograph | 80 x 160 cm | 2001

論文與結論相片 | 80 x 160 公分 | 2001 年

錄像作品 | Video

溫柔

Tender

〈溫柔〉圍繞著一對男女之間看似十分普通的關係。然而作品

Tender appears to revolve around a very normal relationship

一開始即透露出不同於表面般正常的跡象，當二名年輕人穿越

between a young man and woman. However, from the

座落於市中心的院子時，他們專注於彼此，完全沒有注意到院子中的芹菜旁有著一株奇怪的肉質蘭花，很明顯地，這對他們

beginning there are signs that things are not quite as normal as they seem. As the two young people walk through their innercity backyard they are focused on each other and do not give

來說並無怪異之處。觀者亦可能對男子帶來的日用品有所好奇，

a second glance to the strange fleshy orchid growing amongst

其中有特大罐粉狀蛋白質、維他命補充品、保溼乳液、糖和鹽

the celery. Clearly, for them, there is nothing strange about

等。男子的積極感、女孩若有所思的樣子、這對男女走向臥房

the plant. The viewer might also wonder about the groceries,

時流露的尷尬親密感，一切都令人不陌生。然而，事實上這對男女之間的確存在著某種熱情，不過卻不是觀者所預期的；他

the bulk-sized protein powder, the vitamin supplements, the moisturizer, the sugar and the salt. The young man’s eagerness, the young woman’s preoccupation, the couple’s somewhat

們擁有一個秘密，女孩給男孩看了自己身上令人驚訝的開口，

awkward intimacy as they make their way to the bedroom are

表情混雜著自豪及難為情，同時，還有一窩幼小生物正睡在她

all rather familiar. The couple share something intense, but it

的床尾。

is not what we might expect. They share a secret; there is the unexpected orifice revealed to the man by the woman, with a

這其中的關聯性有些曖昧不明，身體上的開口及那窩幼小生物，

combination of pride and embarrassment; there is the litter of pups slumbering at the end of her bed.

揭示著這名女孩是代理孕母，在自己臥房中生育著這些生物，而男子在協助她的同時，對成為一名新手父親的過程感到驚奇

The connections in this are somewhat ambiguous. The

及激動。然而，他們為什麼在進行這件事卻無定論，這也許是

connection between the orifice and the pups is that the young

個嗜好，一種他們熱切追隨的流行；亦或許他們受僱進行某種

圖錄 : 錄像作品 Plates: Video

生物技術試驗，可能極不人道或相當危險，是非法或不明智的

woman is a surrogate. She is breeding these little creatures in her bedroom. The young man is helping her, as awestruck and excited by the process as a new father. Quite why they are

作為；也可能這只是某種極端或令人尷尬之事。無論如何，這

doing this is more difficult to say. This might be a hobby, some

件事對他們來說，都不覺得奇怪，反而是件私人、奇異卻很正

intense fad in which they are participating, or perhaps it is some

常的事。此作反映了非凡科技和社會變革正快速的變得再一般

sort of biotech testing for which they have been paid. It could

不過，類似的過程也反映在體外人工受孕技術，它曾被稱為「試管嬰兒奇蹟」，但現今人們卻已司空見慣了。

be something nefarious or dangerous, illegal or ill-advised, or possibly just something rather unconventional or embarrassing. Whatever is going on, it isn’t something either of them finds weird. It is private and amazing but it is not shocking. This is a reflection of the way that extraordinary technologies and social changes quickly become commonplace. This is the process that has transformed the process of IVF from “miracle test-tube

baby” to something which is now unremarkable and ordinary.

溫柔高畫質影像 1080p、立體音響 | 5 分 25 秒 | 2014 年

Tender HD 1080p, Stereo | 5 mins 25 secs | 2014

雕塑作品 | Sculptures

不完全是動物 ( 年輕家庭的跨基因頭骨 )

Not Quite Animal (Transgenic Skull for

不完全是動物 ( 年輕家庭的跨基因頭骨 )〉延續匹斯尼尼對於當

the Young Family)

今生物科學 / 哲學思考之間的關聯，同時探討人工 / 自然的關係，進而思考人 / 獸的差異。

In Not Quite Animal (Transgenic Skull for the Young Family) , Piccinini continues to explore the relationship between bioscience and philosophical thinking, while also discussing

關於此作品，匹斯尼尼認為：「骷顱頭象徵人的道德與虛榮感，同時也呼應了過去創作所關注的議題－傲慢的人性。我創作的

圖錄 : 雕塑作品 Plates: Sculptures

所有生物體，一直存在著具悲劇性的特質，而這也使我感到，

the relationship between the artificial and the natural and the difference between humans and animals. For Piccinini, “the skull as a symbol of mortality and human

儘管人類一開始以正面的態度介入自然，但到最後的下場都並

vanity, has a particular resonance to my practice, which in

非是預期的那樣。」因此，此銅製的骷顱頭象徵著人的貪婪與

many ways presents these beings as essentially products of

傲慢，且以銅為創作媒材，就像是道訴人的貪婪本性似乎與堅

human hubris. There is a certain tragic quality to all of my

固的金屬一樣，難以被改變。

creatures, which in many ways comes down to my feeling that, no matter how good our intentions, the results of our interventions into nature are unlikely to be what we expect.” (Piccinini, Not Quite Animal (Transgenic Skull for the Young

不完全是動物 ( 年輕家庭的跨基因頭骨 ) 青銅 | 28 x 14.5 x 19.5 公分 | 2008 年 Not Quite Animal (Transgenic Skull for the Young Family) Bronze | 28 x 14.5 x 19.5 cm | 2008

Family ). 2008) Therefore, this bronze skull epitomizes human greed and arrogance. In choosing bronze as the medium, the artist seems to be saying that human beings’ greedy nature is as stubborn as the metal and is equally difficult to change.

圖錄 : 雕塑作品 Plates: Sculptures 54

展場圖 | Artworks in Yu-Hsiu Museum of Art

單車犬

Cyclepups

匹斯尼尼彷彿將機械裝置賦予了生命，藉由〈單車犬〉這組作

Piccinini has given life to these mechanical devices. Through

品探討生物與科技的關聯。這兩隻趴在地上的仿生小犬，好像

this set of works, Cyclepups , the artist discusses the relationship

正在遊玩著，但又像是搖著尾巴，等著人們與牠互動。牠們看似機械，但透過藝術家的創意，反轉了工業感中的冰冷調性，

between biology and technology. The two bionic pups on the floor seems to be playing, but perhaps they are also wagging their tails to attract the attention of humans. Through Piccinini's

成為具有溫度及情感的生命體。〈單車犬〉以像機車頭部為主

creative touch, industrial, mechanical coldness has given birth

要的造型，一隻靛色配黑色，另一隻黃橘色調，像是刻意配合

to warm and affectionate living creatures. Cyclepups resemble

飼主喜好的「客製化」(custom cars) 寵物，同時也像是述說著

the heads of motorcycles. The indigo-black and the yellow-

每個生物體都有自己的個性，並非是被人類操控的機械體。

orange color combinations suggest they are customized pets, made according to their owners’ preferences. Meanwhile, they seem to say that every living creature has its own character,

匹斯尼尼認為機器／人工與自然／生命之間的差異及界線沒有

rather than being a mechanism manipulated by humans.

絕對。她曾說：「『車』似乎是人工的，但因為我常使用它，

圖錄 : 雕塑作品 Plates: Sculptures

對我而言『車』反而比『馬』更加親切。事實上，馬是經過人類刻意挑選品種所培育的動物，因此一匹馬的人工感並不亞於一輛車。」(2007) 因此，相對於經過人工特意培育的馬，對藝

Piccinini thinks that there are no definite distinctions or boundaries between the artificial/machine and the natural/ life. She once said, “a car would seem obviously artificial but I would argue that it is very much more natural to me than a

術家而言，車子反而更具人性的溫度。這兩隻機械生物各有兩

horse, given how much time I spend in a car. In fact, a horse is

個大眼睛、大頭及小鼻子，外表以工業烤漆的光滑和強烈的色

the product of millennia of human intervention in the form of

彩與巧妙設計吸引觀者的目光，就好像是兩隻正在等待人類眷

selective breeding. Surely that would make it no less ‘artificial’

愛的寵物。

than the car.” (Piccinini interviewed with Laura Fernandez Orgaz, The Naturally Artificial World . 2007) Compared to horses, which are selectively bred by human beings, cars seem more natural. Similarly, in Cyclepups , both mechanical creatures have two large eyes, a large head and a small nose.

單車犬玻璃纖維、汽車烤漆、皮革、鋼 40 x 110 x 50 公分 ( 個 ) | 2007 年 Cyclepups Fibreglass, Auto paint, Leather, Steel 40 x 110 x 50 cm (each) | 2007

新手〈新手〉延續了匹斯尼尼長久以來對於當代生活中那些曖昧合體與混種的探究。基因工程因為「群聚且有規律間隔的短迴文重複序列」技術（即 clustered, regularly interspaced, short palindromic repeats，CRISPR）而有了極速躍進，在這樣的背景下，此作在現實及超現實的層面上都做出了回應；它反映了這個世界中新形態生物的誕生，例如中國的「微型寵物豬」，消費者現在可以 2000 美元的代價，獲得全世界第一隻「基因訂製」寵物。當然，我們也可以主張所有馴化的動物，實際上都已經透過育種而經歷了「基因訂製」的過程，但「微型寵物豬」是第一隻透過 CRISPR 技術直接在基因層面上進行改造的動物。

CRISPR 對基因工程的影響就有如個人電腦之於計算機學，使基因工程成本低廉而普及。對藝術家而言，「微型寵物豬」有趣之處在於其特殊適應性的本質：可愛性。讓這個獨特生物體能夠適應環境且被人類接受的原因，是它對人類的吸引力，但人為演化的進程反而挑選了牠脆弱及無助等天性。回溯這些「微型寵物豬」的原型（一般豬），近看不是太討喜，因此，「微型寵物豬」對人類飼主的無害性以及無助可愛感，都讓牠得以繁衍，匹斯尼尼覺得這是個十分誘人的想法：人為演化為自然界選擇了「不適者」生存，同時也挑戰了自然演化論的觀點。

當然，也有人認為這一切都只是為了讓像 CRISPR 這類的基因工程科技較不嚇唬人，尚且不談一般大眾對 CRISPR 的廣泛應用層面是否清楚，以「微型寵物豬」來引介這種技術，的確較為

因此，像〈新手〉這樣的新兵、生手，也就那樣莫名其妙的成為非自然環境下所生成的奇異生物，牠運用自然界中常見、有益於生物與環境融合的變形適應過程，就像竹節蟲或貓頭鷹可隨著環境改變形體一般。這種生物的保護性甲殼是由足球鞋演變而來，然而，也許就像「微型寵物豬」一樣，〈新手〉的防禦能力，正是牠無比脆弱的特質。

圖錄 : 雕塑作品 Plates: Sculptures

親切，相較於那些已在進行中但仍不成功的人類胚胎實驗，牠似乎較為容易被人們所接納。

新手矽樹脂，玻璃纖維，毛髮 | 48 x 65 x 46 公分 | 2015 年

圖錄 : 雕塑作品 Plates: Sculptures

The Rookie Piccinini has explained this work, as follows: “The Rookie

but these are the first to be directly engineered at a genetic

continues my long-term investigation into ambiguous

level through […] CRISPR.

convergence and hybridity in contemporary life. Set against the backdrop of the exponential progress being made in genetic

CRISPR seems set to do for genetic engineering (GE) what

engineering as a result of clustered, regularly interspaced, short

the PC did for computing - making it cheap and ubiquitous.

palindromic repeats (CRISPR) techniques, this work responds

For me, the interesting thing about the micropig is the

on both a literal and a surreal level. It reflects on the emergence

nature of its particular adaptation: cuteness. What makes this

into the world of new creatures such as the Chinese ‘micropigs’.

particular organism uniquely adapted to its environment is its

For $2000, consumers can purchase the world’s first ‘genetically

attractiveness to humans. Artificial evolution has selected for

customized’ pet. Of course we can argue that all domesticated

relative weakness and helplessness; the pigs they descend

animals are in fact ‘genetically customized’ through breeding,

from are actually pretty fearsome up close. It is the micropig’s

The Rookie Silicone, Fibreglass, Hair | 48 x 65 x 46 cm | 2015

harmlessness relative to its human owners that will allow it to

Thus ‘The Rookie’; the first timer, the raw recruit, the novice.

prosper. For me, this is a poignant and fascinating idea: Artificial

This is also a creature strangely adapted to its unnatural

evolution selects for ‘unfitness’ for the natural world.

environment. It draws on the common morphological

Of course you could argue that this is all about making GE

environment, whether it is stick insects or owls. In the case

technologies like CRISPR less scary. Despite its massive

of this creature, it is encased in a protective carapace that

implication, CRISPR is still almost unknown in the wider world,

is derived from a football boot. However, perhaps like the

and a micropig is a pretty inoffensive organism with which to

micropig, it is The Rookie’s very vulnerability that is its greatest

introduce it. It certainly garnered more positive headlines than

defense.”

the comparatively unsuccessful human embryo experiments which have already occurred.

adaptations in nature that help creatures blend in with their

圖錄 : 雕塑作品 Plates: Sculptures

展場圖 | Artworks in Yu-Hsiu Museum of Art

單臂之力

The Strength of One Arm

〈單臂之力〉一作中，沒有明顯地表達觀眾的存在，但暗示了

People do not feature explicitly in The Strength of One Arm

觀者就像是在作品的前方屏氣凝神的目睹這場表演。作品中，

(with Canadian Mountain Goat), but their presence in the

一名矮胖粗壯、身著藍色連身服的人物，不費吹灰之力以單手獨立於神情順服的山羊背上，這個正在進行平衡動作的人物有

goat. The balancing figure has conjoined flipper-like feet and a dugong-like muzzle, and appears to be caught somewhere

洋生物演變成哺乳動物的狀態，但也有可能是相反的情況；他

on the evolutionary path that leads mammals from the sea,

在山羊背上泰然自若，流露著海獅或體操選手的自在優雅，亦

(or perhaps back to the sea). He is poised on the goat with the

能的組合，皆是同等奇異的存在，也提醒我們這個世界美妙的圖錄 : 雕塑作品 Plates: Sculptures

tracksuit balances effortlessly on the back of a resigned-looking

著蹼狀的腳指和儒艮般的口鼻，彷彿揭示了演化進程上，由海

在土地與海洋這二種空間之間自在平衡；他和山羊是一對不可

background is implied. In this work, a stocky figure in a blue

easy grace of a seal or a gymnast, balanced in space as he is between land and sea. They are an unlikely pair, each equally peculiar in their own ways, and both reminders of the amazing

多樣性。

diversity of the world.

然而，雖然此作透露出超現實的喜趣之感，但隱約中也帶有一

While the work has a kind of joyous surreality, there is also a

絲不公正的罪惡，暗示著馬戲團開心表相下的壓迫現實，或是體操奇觀背後的專制逼迫。「對我來說，這件作品反映了就算

vague sense of some sort of iniquity. There is a suggestion of the oppression that underpins the cheeriness of the circus, or authoritarianism that supports the spectacle of gymnastics. “For

牠們原本就能對環境或人們提供些正向功能，但人類總期待自

me, the work reflects on the way that we expect the creatures

己創造或豢養的生物僅為他們提供表演或娛樂，在我眼中，這

we create or maintain to perform for us. Their value lies

極為可悲。」

primarily in what they can do for us, rather than in the wonder of what they are. I find this quite sad.”

局部圖 | Detail

圖錄 : 雕塑作品 Plates: Sculptures 66

單臂之力矽樹脂，玻璃纖維，人類毛髮，衣著，加拿大高山山羊 180 x 154 x 56 公分 | 2009 年 The Strength of One Arm Silicone, Fibreglass, Human hair, Clothing, Canadian Mountain Goat | 180 x 154 x 56 cm | 2009

俯臥

Prone

〈俯臥〉一作受啟發於葉口蝙蝠，及蝙蝠特殊的感官能力。儘

Prone was inspired by leaf-nosed bats and their unique

管蝙蝠的眼睛很小似乎發育不良，但他們可以運用他們的視力

sensory capabilities. Although bats’ eyes are small and seem to

看到很遠的地方，甚至可以在很昏暗的光線下辨識物件。他們的視力若沒有人類好，也與人們的視力不相上下。研究顯示蝙

be poorly developed, they can still use their vision to navigate, especially over long distances and even to utilize very dim light. Some bat species often have excellent eyesight, which is

蝠可以製造許多不同的聲音，透過這些聲音來相互溝通，並被

as good as, if not better than human vision. Studies also show

人理解他們的特定行為。〈俯臥〉為小嬰兒結合葉口蝙蝠的混

that bats make various sounds to communicate with one

合體，可於嬰兒的鼻子、耳朵、手指、腳趾上辨識到不尋常的

another, and particular sounds can be associated with certain

身體特徵，而這些特徵皆是藝術家欲傳達對於蝙蝠特殊能力的驚艷。

types of behaviour. Prone was created as a hybrid, combining a baby with a bat, and unusual features can be seen in the baby’s nose, ears, fingers and toes, all of which are associated with bats’ unique senses, which mark it out as a particularly amazing mammal.

俯臥矽樹脂，玻璃纖維，人類毛髮，毛氈 | 23 x 60 x 60 公分 | 2011 年 Prone Silicone, Fibreglass, Human hair, Felt | 23 x 60 x 60 cm | 2011

圖錄 : 雕塑作品 Plates: Sculptures

展場圖 | Artworks in Yu-Hsiu Museum of Art

底食動物〈底食動物〉的面貌與鯊魚十分相似，充滿皺紋肌理的臀部是最令人印象深刻的生理特徵。牠雖然與生俱來一種卑微、不起眼的樣態，但就像鯊魚專門以吞食海底底層的魚類、生物腐屍維生一般，牠在與人類共存的生活環境中，同樣扮演著清道夫的角色，處理人類所產生的垃圾物；雖外表醜陋，卻對生態環境有所助益，藝術家也希望透過牠，探討人類與其他生物、環境的共生共榮。

第一眼撞見底食動物時，會帶給觀者錯愕、不安、醜陋的刻板印象，彷彿看見了一張正在竊笑的臉，但那其實是牠的臀部。此生物總是頭部低垂，好像不斷地在搜尋地上的食物，之於觀者，那翹起的臀部反倒較像是頭部，靜靜地凝視著觀眾。因為牠對生態的助益，因此匹斯尼尼認為：「這個生物擁有著一種應該被重視及被愛的特質。」

Bottom Feeder The face of the Bottom Feeder is shark-like, while its wrinkled bottom is the creature’s most impressive physical feature. Although it has a humble, unappealing appearance, it reminds the viewer of a shark feeding on fish and dead creatures on the sea floor. In the living environment it shares with the human race, Bottom Feeder plays the role of a scavenger, taking care of the waste produced by humans. Although it does not have an appealing appearance, it is beneficial to the ecosystem. Through this creature, the artist highlights the symbiotic coexistence of human beings, other creatures and

圖錄 : 雕塑作品 Plates: Sculptures

the environment. When the audience first sees Bottom Feeder , they may experience feelings of shock or anxiety; they may consider the creature to be ugly, because the creature’s bottom resembles a face. The Bottom Feeder ’s head is always lowered as if it is searching for food on the floor. From the audience’s perspective, the raised bottom looks more like the creature’s head, as if it were quietly staring at its viewers. Because of the

ecological benefit provided by Bottom Feeder , Piccinini states that “beneath his strangeness there is something that might be valued and loved.” 底食動物矽樹脂，玻璃纖維，鋼，狐軟毛 | 45 x 40 x 66 公分 | 2009 年

Bottom Feeder Silicone, Fibreglass, Steel, Fox fur | 45 x 40 x 66 cm | 2009

代理人〈代理人〉的創作靈感來自於匹斯尼尼某次參觀博物館的經驗，館方計畫以生物複製的技術，再製已經於二十世紀初絕種的澳洲袋狼 (Thylacine)。因此，她以澳洲毛鼻袋熊 (Northern Hairy Nosed Wombat) 為創作想像的起點，進而推演出此作品。〈代理人〉具有淡粉紅色的耳朵，臉部像是充滿歲月痕跡的老年人，她以一副慈祥的眼神靜靜地凝望遠方，身上突起的雌性胸部，代表她的母性象徵。從此生物體背部長滿狀似龜殼的形體，與其下方長出的微細毛髮，可窺視這生物體半獸、半人的特質，同時背部似乎正孕育著兩隻狀似她的小生物，正想從背部皮囊中鑽出，她的生理機能及面容表情皆訴說了母性生物關愛後代之情。

Surrogate The inspiration for Surrogate came from Piccinini’s visit to a museum exhibition. At that time, the museum planned to use cloning technology to revive the thylacine, an Australian marsupial wolf, which became extinct in the early 20th century. Therefore, Piccinini has used the northern hairy-nosed wombat as a base on which to create this creature. Surrogate has light pink ears and a wrinkled, old face. Her kind, loving eyes stare quietly into the distance. Her breasts are a maternal feature and her back reminds the audience of a turtleback. However, underneath the turtleback grows thin hair, suggesting the creature’s half-animal, half-human quality. At the same time, the creature is nurturing several joeys which are trying to crawl out of their pouches. The biological function and facial expression speak of the female creature’s maternal affection for her offspring.

代理人矽樹脂，玻璃纖維，皮革，夾板，人類毛髮 180 x 306 x 103 公分 | 2005 年 Surrogate Silicone, Fibreglass, Leather, Plywood, Human hair 180 x 306 x 103 cm | 2005

展場圖 | Artworks in Yu-Hsiu Museum of Art

圖錄 : 雕塑作品 Plates: Sculptures

局部圖 | Detail

突然一擊

The Coup

〈突然一擊〉作品呈現一個經基因工程改造後的男孩，及他左

The Coup depicts a genetically modified boy and a parrot

手上的一隻鸚鵡。這隻鸚鵡有可能休憩在這男孩手掌上，也可

on the boy’s left hand. The parrot could be resting at ease or temporarily perching on the boy’s hand. The boy seems to be raising his right hand to gently pet the parrot, but he could also

柔地撫摸這鸚鵡，但也可能是正想趕走這不速之客。不論男孩

be trying to get rid of an uninvited guest. No matter what the

與這隻鸚鵡的關係，他們在彼此關係的進行過程中，被匹斯尼

truth of the scenario, Piccinini captures the moment when two

尼捕捉住這一刻並呈現出來，因此〈突然一擊〉作品暗示「進行中」的狀態，及青少年的過渡期。這就像生物基因工程的發

parties are forming a relationship. Therefore, one could say that the work suggests an “on-going” action and the transition of adolescence. It implies that the development of genetic

展，目前僅是在一種青春期的狀態，尚未進入成熟的階段。這

engineering is still at an adolescent state and is not yet mature.

男孩不像匹斯尼尼所創作的其它生物體那般的討人喜歡，但他

This boy is not as endearing as Piccinini’s other creatures.

還是值得我們用真心去關愛。儘管真實自然並非總是良善的，我們期待人工的生命是好的、正面的。

Nonetheless, he is still worthy of our care and love. Although the reality of nature is not always kind, we may still hope that artificial life forms are good and positive.

能只是經過先暫時停滯在那，而這個男孩的右手也似乎正想溫

圖錄 : 雕塑作品 Plates: Sculptures 82

突然一擊矽樹脂，玻璃纖維，人類毛髮，衣著，鸚鵡標本 | 116 x 60 x 55 公分 | 2012 年 The Coup Silicone, Fibreglass, Human hair, Clothing, Taxidermied parrot | 116 x 60 x 55 cm | 2012

局部圖 | Detail

迎接賓客

The Welcome Guest

〈迎接賓客〉作品中純真的小女孩，因沒有先入為主的觀念，

The innocent little girl in The Welcome Guest does not have

因此不會對陌生 / 奇異生物感到害怕，在一般人眼中，站立床

any preconceived ideas and is not appalled by the strange,

頭的美麗孔雀，與長相奇特的變種生物形成了強烈的對比，因此這是個充滿視覺張力和緊張氣氛的戲劇現場，但在小孩眼中，

peculiar creature. In most people’s eyes, the beautiful peacock at the head of the bed and the distinctive-looking mutant creature form a powerful contrast, making the work a dramatic

兩者同樣可親可愛，無所差別，這毋寧是一個和諧相處與融洽

site of visual tension and intense atmosphere. However, in the

交流的樂園縮影。

eyes of a child, both creatures are equally lovable, rendering

迎接賓客 ( 毓繡美術館典藏 ) 矽樹脂、玻璃纖維、人類毛髮、衣著、孔雀標本依場地而定 | 2011 年

The Welcome Guest (Yu-Hsiu Museum of Art collection) Silicone, Fibreglass, Human Hair, Clothing, Taxidermied Peacocks Dimensions Variable | 2011

the work as the epitome of paradise, of harmony and of peace.

展場圖 | Artworks in Yu-Hsiu Museum of Art

靈感的源頭隨筆繪圖

Drawing as the germination of inspiration

匹斯尼尼說：「我的創作總是始於繪畫，先運用它發展想法，

Piccinini introduces her drawings and states as follows: “My

然後當某些值得製作的東西開始出現時，就思考要怎麼把它做

work always begins with drawing. I develop my ideas using

出來；在思索如何最佳表現某個特定想法時，自然會想到選用何種媒材，也許是攝影、雕塑，也可能是更精細的繪畫。有時

drawing and then, when I feel that it is starting to become something worth making, I start to think about how it might be made. The medium tends to come as I start to think about

候我會有想要運用的特定材質，有些時候，重點在如何能用最

how best to express a particular idea, whether that might be

好的方式和觀者溝通想法，在那個當下，便開始思考作品製

photography or sculpture or a more resolved sort of drawing.

作。」

Sometimes there is some sort of materiality that I want to work with, and other times it is about how I might best connect viewers with the ideas. At that point I start to think about fabrication.”

展場圖 | Artworks in Yu-Hsiu Museum of Art

簡歷 | Biography

藝術家簡歷 Artist's Biography

派翠西亞 ‧ 匹斯尼尼 1965 年生於西非獅子山共和國，7 歲隨全家人移民澳洲。1988 年畢業於澳洲國立大學經濟史學系，1991 年畢業於澳洲墨爾本大學維多利亞藝術學院美術學系繪畫組，創作媒材多元，包含繪畫、錄像、聲音、裝置藝術、數位攝影、雕塑等。曾於 2003 年代表澳洲參加第 50 屆威尼斯雙年展，展出《我們都是一家人》(We Are Family) 系列，並於 2014 年獲墨爾本藝術基金會 (Melbourne Art Foundation) 視覺藝術家大獎。匹斯尼尼利用藝術創作來探討科技對我們生活的影響，她對於自然與人工如何改變我們的社會深感興趣，作品常涉及生物科技、基因治療、人類基因結構等面相，並探討人們消費文化的機制。匹斯尼尼作品常散發出一種奇觀、驚艷與神秘感，作品的隱喻性往往發人省思。

Patricia Piccinini Born in Sierra Leone, West Africa, in 1965, Patricia and the Piccinini family moved to Australia when she was seven years old. She received her BA in Economic History from Australian National University in 1988, and her BA in Painting from Victorian College of the Arts, Melbourne, Australia. Piccinini uses a wide range of media, including painting, video, sound, installation, digital photography, and sculpture. In 2003, she represented Australia at the 50th Venice Biennale, in which she exhibited the series, We Are Family . In 2014, she was awarded the Artist Award by the Melbourne Art Foundation. Piccinini uses artistic creation to explore the effects of technology on our daily lives. She is fascinated by how nature and artificiality change our society. Her work often involves biotechnology, genetic therapy and human genetic structure while discussing the mechanism of human consumption culture. Her work always creates a sense of spectacle, amazement, and

mystery, while the implications are invariably thought-provoking.

派翠西亞 ‧ 匹斯尼尼 1965

生於獅子山共和國自由城

1972

移居至澳洲

1985-88 澳大利亞國立大學，經濟史學士 1989-91 澳洲維多利亞藝術學院，繪畫學士 1994-96 地下室計劃藝廊協調負責人個展精選 2016

科學之名，巴西利亞巴西中央文化銀行，巴西利亞，巴西身體風景：派翠西亞 ‧ 匹斯尼尼，毓繡美術館，草屯，臺灣

2015

霍斯菲爾特的匹斯尼尼，國際藝術博覽會，伊斯坦堡，土耳其科學之名，里約巴西中央文化銀行，里約，巴西另一種生命，魁北克大學美術館，蒙特婁，加拿大相對論，高威國際藝術節，高威，愛爾蘭陰翳呼喚，黑暗 MONA 音樂藝術節，水星大廈，荷伯特，澳洲色即血肉，Tolarno 藝廊，墨爾本，澳洲

2014

似如我輩，新堡藝廊，新堡，澳洲另一種接觸，瓦南布爾藝廊，互南布爾，澳洲空中鯨魚，草地輝煌音樂節，拜倫灣，澳洲

2013

支撐的結構，坎培拉美術館，坎培拉，澳洲我將夢鋪展在你足下，Roslyn Oxley9 藝廊，雪梨，澳洲統合文本：考納斯雙年展，考納斯國際雙年展，考納斯，立陶宛空中鯨魚，坎培拉建城百年紀念，坎培拉；黑暗 MONA 音樂藝術節，荷伯特，澳洲

2012

夜間造夢者，Haunch of Venison 藝術，倫敦，英國皆非陌生人，Tolarno 藝廊，墨爾本，澳洲迎接賓客，Conner 當代藝術畫廊，華盛頓特區，美國

2011

擁我在心中，Arter 藝術空間，伊斯坦堡，土耳其

藝術家簡歷 Artist's Biography

很久…很久以前，南澳美術館，阿德萊德，澳洲迎接賓客，Conner 當代藝術畫廊，華盛頓特區，美國 Fitzroy 系列作品展，當代攝影中心，墨爾本，澳洲 2010

相對論，西澳藝廊，伯斯，澳洲非我所知，Haunch of Venison 藝廊，紐約，美國非我族類，Roslyn Oxley9 藝廊，雪梨，澳洲

派翠西亞 ‧ 匹斯尼尼，Leeahn 藝廊，大邱，首爾，韓國 2009

進化，塔斯馬尼亞美術館，荷伯特，澳洲自然親暱，Tolarno 藝廊，墨爾本，澳洲

近作展，Byblos 藝廊，維洛納，義大利 2008

事發之地，Yvon Lambert 藝廊，紐約，美國匹斯尼尼，Perc Tucker 地區美術館，湯斯維爾，澳洲泉源，Tolarno 藝廊，墨爾本，澳洲相關人等，Roslyn Oxley9 藝廊，雪梨，澳洲

2007

溫柔生物，Artium，維多利亞，西班牙擁抱：派翠西亞 ‧ 匹斯尼尼新作，弗萊伊美術館，得梅因藝術中心，西雅圖，得梅因，美國雙愛結，利斯莫爾地區美術館，利斯莫爾，澳洲近作展，Roger Williams 藝廊，奧克蘭，紐西蘭

2006

另一次人生中，威靈頓城市藝廊，威靈頓，紐西蘭新畫作展，Roslyn Oxley9 藝廊，雪梨，澳洲生命循環，Tolarno 藝廊，墨爾本，澳洲

2005

大自然小幫手，Robert Miller 藝廊，紐約，美國堅不可破的蛋，Roslyn Oxley9 藝廊，雪梨，澳洲

2004

雕塑作品展，Robert Miller 藝廊，紐約，美國

2003

我們是一家人，澳洲館，第 50 屆威尼斯雙年展，威尼斯，義大利我們是一家人，巡迴至原美術館，班迪哥藝廊，東京，班迪哥，日本，澳洲警世故事，Tolarno 藝廊，墨爾本，澳洲警世故事，Roslyn Oxley9 藝廊，雪梨，澳洲愛我，就愛我的腫塊，墨納許中心，乾相片藝廊，普拉多，義大利荒野呼喚，巡迴至 John Curtin 藝廊，伯斯，澳洲

2002

荒野呼喚，當代美術館，雪梨，澳洲回顧學，澳洲當代藝術中心，墨爾本，澳洲沙人，維多利亞國立美術館，墨爾本，澳洲自體愉悅，Roslyn Oxley9 藝廊，雪梨，澳洲

2001

呼吸房，東京都寫真美術館，東京，日本超級進化，視覺藝術中心，利馬，祕魯一夜之愛，Tolarno 藝廊，墨爾本，澳洲

2000

腫脹，藝術空間，雪梨，澳洲沙漠騎士，Roslyn Oxley9 藝廊，雪梨，澳洲

1999

蛋白晶格，共和國大樓，墨爾本，澳洲卡車寶寶，Tolarno 藝廊，墨爾本，澳洲塑物學，日本通訊公司東京互動藝術中心，東京，日本

1998

光暉，阿德萊德藝術節，阿德萊德，澳洲

1997

心理，Tolarno 藝廊，墨爾本，澳洲

1996

自然之美，地下室計劃藝廊，墨爾本，澳洲

車塊，維多利亞藝術中心，墨爾本，澳洲

你的時代自此開始，南澳當代藝術中心，阿德萊德，澳洲你的時代自此開始，現代藝術中心，布里斯本，澳洲 1995

愛我，就愛我的腫塊，地下室計劃藝廊，墨爾本，澳洲大地都會主義，巡迴至澳洲中心，馬尼拉，菲律賓

1994

大地都會主義，當代攝影中心，墨爾本，澳洲 T.M.G.P.，地下室計劃藝廊，墨爾本，澳洲個體⋅可見，地下室計劃藝廊，墨爾本，澳洲

聯展精選 2016

新羅曼史，國立當代美術館，首爾，韓國豐饒之角，雪波頓美術館，雪波頓，澳洲

2015

超自然，國立女性美術館，華盛頓，美國原始物質，拉博拉爾藝術中心，希洪，西班牙後攝影狀態，蒙特婁攝影月，蒙特婁，加拿大 SymbioticA，西澳大學，伯斯，澳洲

2014

動物園，澳洲當代藝術中心，墨爾本，澳洲肉身之中：體驗新的真實，澳洲國立肖像美術館，坎培拉，澳洲脈搏：身體反映，坎培拉美術館，坎培拉，澳洲聚集 II，旺加拉塔藝廊，旺加拉塔，澳洲肉身之中：體驗新的真實，澳洲國立肖像美術館，坎培拉，澳洲光線之中：當代美術館攝影館外巡迴展，當代美術館，伊普斯維奇地區美術館，西部平原文化中心，馬特蘭地區美術館，班迪哥美術館，麥凱藝術中心，霍克斯布里地區美術館；雪梨，伊普斯維奇，多波，馬特蘭，班迪哥，麥凱，溫莎，澳洲腫脹，布幕空間，墨爾本，澳洲

2013

當下墨爾本，維多利亞國家美術館，墨爾本，澳洲後人類慾望，台北當代藝術館，台灣野獸天性，新美術館，渥梭爾，英國以古鑑今，Haunch of Venison，紐約，美國未來不再如同過往，紐林美術館，紐林，英國

藝術家簡歷 Artist's Biography

遊蕩：當代美術館影像收藏展，凱恩斯地區美術館，凱恩斯，澳洲合成敬上，數位藝術館，林茲，奧地利荒野呼喚，霍斯菲爾藝廊，舊金山，美國 Vrrooom，Perc Tucker 地區美術館，湯斯維爾，澳洲在我的皮膚之下：柯瑞根澳門當代攝影收藏展，洛克漢普頓地區美術館，洛克漢普頓，澳洲七姊妹，Karen Jenkins-Johnson 藝廊，舊金山，美國

2012

童話、怪獸與基因想像，弗利斯特視覺藝術中心，葛蘭堡美術館，溫尼培格美術館；納許維爾，田納西，卡加利，曼尼托巴，美國，加拿大觀察者，Haunch of Venison，倫敦，英國

露易絲⋅布爾喬亞，海德現代美術館，墨爾本，澳洲藍色：物質、情緒和憂鬱，21c 博物館飯店，路易斯維爾，美國混淆：當代攝影，維多利亞國立美術館，墨爾本，澳洲自然 vs 後天，FaMa 藝廊，維洛納，義大利動物／人類，昆士蘭大學美術館，布里斯本，澳洲當代雕塑中的生命概代，Georg Kolb 美術館，柏林，德國影像循環，新南威爾斯大學美術館，雪梨，澳洲凍結，Maroondah 藝廊，墨爾本，澳洲爭議：藝術的力量，墨寧頓半島地區美術館，墨爾本，澳洲 2012 發色體，媒體美術館，年代日報大樓，墨爾本，澳洲出色藝術家：派特⋅柯瑞根獎助藝術家展，馬特蘭地區美術館，馬特蘭，澳洲 2011

2112：想像未來，RMIT 美術館，墨爾本，澳洲創造力，維多利亞和亞伯特美術館，倫敦，英國模糊界線，Haunch of Venison 藝廊，紐約，美國我們的起源，哥倫比亞當代攝影美術館，芝加哥，美國東京藝術大會：變形，東京當代美術館，東京，日本非我所知，Haunch of Venison 藝廊，紐約，美國

2010

地球像顆橘子一樣是藍色的，蒙特婁美術館，蒙特婁，加拿大醫學與藝術，森美術館，東京，日本第二屆亞洲雙年展，國立臺灣美術館，台北，台灣

2009

夢幻之地：鏡中奇遇，KadE 美術館，阿默斯福特，荷蘭動物生成⋅人類生成，新柏林藝術協會，柏林，德國非常態：差異展，Beurs Van Berlage，阿姆斯特丹，荷蘭相互衝突的世界，Samstag 美術館，阿德萊德，澳洲當代澳洲：樂觀主義，GOMA 昆士蘭美術館，布里斯本，澳洲新哥德：重返暗黑，昆士蘭大學美術館，布里斯本，澳洲陌生人，Yvon Lambert 藝廊，紐約，美國畫廊藝術家，Conner 當代藝術藝廊，華盛頓特區，美國描繪地景，ArtSway，2010 年之前於英國及澳洲巡迴展出，漢普郡，英國生命（在死亡之後），Silvershot 藝廊，墨爾本，澳洲視網膜的愉悅之地，拉古納美術館，拉古納海灘，美國血脈：形態的進化，McClain 藝廊，休士頓，美國千禧年，利斯莫爾地區美術館，利斯莫爾，澳洲當代攝影中的全片幅，McClelland 美術館及雕塑公園，墨爾本，澳洲全球女性主義，布魯克林美術館，紐約，美國切換器性愛：都德洛夫錄像作品收藏展，斯洛特基金會，費城，美國

2008

獲獎精選 2014

終生成就獎，墨爾本藝術基金會

2006

紐約駐村，澳洲理事會

2002

國際文化交流計劃，維多利亞藝術中心

2000

新媒體獎助，澳洲理事會

1999

藝術發展獎助，維多利亞藝術中心

1998

東京駐村，澳洲理事會

1997

計劃獎助，澳洲理事會國際文化交流計劃，維多利亞藝術中心

1996

計劃獎助，維多利亞藝術中心

1991

Christopher James Blyth 紀念獎，維多利亞藝術學院

1990

Theodore Urbach 獎，維多利亞藝術學院

1989

Theodore Urbach 獎，維多利亞藝術學院

典藏精選國際女性藝術博物館，盛頓特區，美國鳯凰城美術館，亞利桑納，美國梅德海姆，安特衛普，比利時 21C 美術館，路易斯維爾，肯塔基，美國澳洲國立美術館，坎培拉，澳洲維多利亞國立美術館，墨爾本，澳洲新南威爾斯美術館，雪梨，澳洲昆士蘭美術館，布里斯本，澳洲南澳美術館，阿德萊德，澳洲莫納許大學，維多利亞，澳洲新堡地區美術館，新南威爾斯，澳洲墨爾本大學，維多利亞，澳洲格瑞芬大學，昆士蘭，澳洲

藝術家簡歷 Artist's Biography

威佛利城市美術館，墨爾本，澳洲班迪哥美術館，維多利亞，澳洲坎培拉國會大樓，澳洲藝術銀行，澳洲

Patricia Piccinini 1965

Born Freetown, Sierra Leone

1972

Arrived in Australia

1985-88 Bachelor of Arts (Economic History), Australian National University 1989-91 Bachelor of Arts (Painting), Victorian College of the Arts 1994-96 Coordinator, The Basement Project Gallery

Solo Exhibitions 2016

ComSciencia, CCBB Brasilia, Brasilia, Brazil Patricia Piccinini, Yu-Hsiu Museum of Art, Caotun, Taiwan

2015

Piccinini at Hosfelt, Artinternational, Istanbul, Turkey ComSciencia, CCBB Rio de Janeiro, Rio de Janeiro, Brazil Another Life, University of Quebec Art Museum, Montreal, Canada Relativity, Galway International Arts Festival Gallery, Galway, Ireland The Shadows Calling, Dark Mofo / Mercury Bulding, Hobart, Australia And colour is their flesh, Tolarno Galleries, Melbourne, Australia

2014

Like Us, Newcastle Art Gallery, Newcastle, Australia The Touch of Another, Warrnambool Art Gallery, Warrnambool, Australia Skywhale, Splendour in the Grass, Byron Bay, Australia

2013

Structures of Support, Canberra Museum and Gallery, Canberra, Australia I have spread my dreams under your feet, Roslyn Oxley9 Gallery, Sydney, Australia Kaunas Biennial Unitext, NGO Kaunas Biennial, Kaunas, Lithuania Skywhale, Canberra Centenary, Dark Mofo, Canberra, Hobart, , Australia

2012

Those who dream by night, Haunch of Venison , London, UK There are no strangers, Tolarno Galleries, Melbourne, Australia The Welcome Guest, Conner Contemporary Art, Washington DC, USA

2011

Hold Me Close To Your Heart, Arter Space For Art, Istanbul, Turkey Once Apon a Time, Art Gallery of South Australia, Adelaide, Australia The Welcome Guest, Conner Contemporary Art, Washington DC, USA The Fitzroy Series, Centre for Contemporary Photography, Melbourne, Australia

2010

Relativity, Art Gallery of Western Australia, Perth, Australia Not as We Know It, Haunch of Venison , New York, USA Beyond Our Kin, Roslyn Oxley9 Gallery, Sydney, Australia Patricia Piccinini, Leeahn Gallery, Daegu and Seoul, Korea

2009

Evolution, Tasmanian Museum and Art Gallery, Hobart, Australia Unforced Intimacies, Tolarno Galleries, Melbourne , Australia Recent Work, Byblos Art Gallery, Verona, Italy The Place Where It Actually Happens, Yvon Lambert, New York, USA Piccinini, Perc Tucker Regional Gallery, Townsville, Australia The Wellspring, Tolarno Galleries, Melbourne, Australia Related Individuals, Roslyn Oxley9 Gallery, Sydney, Australia

2008

2007

(tiernas) Criaturas/(tender) Creatures, Artium, Vitoria-Gasteiz, Spain Hug: Recent Works by Patricia Piccinini, Frye Museum, Des Moines Art Center, Seattle, Des Moines, USA Double Love Knot, Lismore Regional Gallery, Lismore, Australia Recent Work, Roger Williams Gallery, Auckland, New Zealand

2006

In Another Life, Wellington City Gallery, Wellington, New Zealand Recent Drawings, Roslyn Oxley9 Gallery, Sydney, Australia Life Cycle, Tolarno Galleries, Melbourne, Australia

2005

Nature's Little Helpers, Robert Miller Gallery, New York, USA Unbreaking Eggs, Roslyn Oxley9 Gallery, Sydney, Australia

2004

Sculpture, Robert Miller Gallery, New York, USA

2003

We are Family, Australian Pavilion, 50th Venice Biennale, Venice, Italy We are Family, toured to Hara Museum, Bendigo Art Gallery, Tokyo, Bendigo, Japan, Australia Precautionary Tales, Tolarno Galleries, Melbourne , Australia Precautionary Tales, Roslyn Oxley9 Gallery, Sydney, Australia Love Me Love My Lump, Monash Centre and Dryphoto Gallery, Prato, Italy Call of the Wild, toured to John Curtin Gallery, Perth, Australia

2002

Call of the Wild, Museum of Contemporary Art, Sydney, Australia Retrospectology, Australian Centre for Contemporary Art, Melbourne, Australia Sandman, National Gallery of Victoria, Melbourne, Australia Autoerotic, Roslyn Oxley9 Gallery, Sydney, Australia

2001

The Breathing Room, The Tokyo Metropolitan Museum of Photography, Tokyo, Japan Superevolution, Centro de Artes Visuales, Lima, Peru One Night Love, Tolarno Galleries, Melbourne, Australia

2000

Swell, Artspace, Sydney, Australia Desert Riders, Roslyn Oxley9 Gallery, Sydney, Australia

1999

Protein Lattice, Republic Tower billboard, Melbourne, Australia Truck Babies, Tolarno Galleries, Melbourne, Australia Plasticology, NTT InterCommunication Centre, Tokyo, Japan

1998

Sheen, Adelaide Festival, Adelaide, Australia Car Nuggets, Arts Victoria, Melbourne, Australia

1997

Psycho, Tolarno Galleries, Melbourne, Australia

1996

Natural Beauty, The Basement Project, Melbourne, Australia Your Time Starts Now..., Contemporary Art Centre of South Australia, Adelaide, Australia Your Time Starts Now..., Institute of Modern Art, Brisbane, Australia

100

藝術家簡歷 Artist's Biography

1995

Love Me Love My Lump, The Basement Project, Melbourne, Australia TerrUrbanism, toured to The Australia Centre, Manila, Philippines

1994

TerrUrbanism, Centre for Contemporary Photography, Melbourne, Australia T.M.G.P., The Basement Project, Melbourne, Australia Indivisibles, The Basement Project, Melbourne, Australia

Selected Group Exhibitions 2016

The New Romance, National Museum of Contemporary Art, Seoul, South Korea Cornucopia, Shepparton Art Museum, Shepparton, Australia

2015

Super Natural, National Museum of Women in the Arts, Washington, USA

Materia Prima, LABoral Centro De Arte, Gijon, Spain The Post-Photographic Condition, Le Mois De La Photo a Montreal, Montreal, Canada Symbiotica, University of Western Australia, Perth, Australia 2014

Menagerie, Australian Centre for Contemporary Art, Melbourne, Australia In the Flesh: Experiencing the New Real, National Portrait Gallery of Australia, Canberra, Australia PULSE: Reflections on the body, Canberra Museum and Gallery, Canberra, Australia The Gathering II, Wangeratta Art Gallery, Wangaratta, Australia In the Flesh: Experiencing the new real, National Portrait Gallery of Australia, Canberra, Australia Remain in Light: Photography from the MCA collection touring exhibition, Museum of Contemporary Art, Ipswich Reg Gallery, Western Plains Culture Centre, Maitland Reg Gallery, Bendigo Art Gallery, Artspace Mackay, Hawkesbury Reg gallery, Sydney, Ipswich, Dubbo, Maitland, Bendigo, Mackay,Windsor, Australia Swell, Screen Space, Melbourne , Australia

2013

Melbourne Now, NGV, Melbourne, Australia Post-humanist Desires, Museum of Contemporary Art, Taipei, Taiwan Nature of the Beast, The New Art Gallery, Walsall, England How to tell the future from the past, Haunch of Venison , New York, USA The Future's Not What It Used To Be, Newlyn Art Gallery and The Exchange, Newlyn, England The Wandering: Moving Images from the MCA Collection, Cairns Regional Gallery, Cairns, Australia Yours Synthetically, Ars Electronica, Linz, Austria Call of the Wild, Hosfelt Gallery, San Francisco, USA Vrrooom, Perc Tucker Regional Gallery, Townsville, Australia Under My Skin: Contemporary Australian Photography from the Corrigan Collection, Rockhampton Regional Gallery, Rockhampton, Australia Seven Sisters, Karen Jenkins-Johnson Gallery, San Francisco, USA

2012

Fairy Tales, Monsters, and the Genetic Imagination, The Frist Center for the Visual Arts, Glenbow Art Museum, Winnipeg Art Gallery, Nashville, Tennesse, Calgary, Manitoba, USA, Canada The Observer, Haunch of Venison, London, UK Louise Bourgeois, Heide Museum of Modern Art, Melbourne, Australia Blue: Matter, Mood, and Melancholy, 21c Museum Hotel, Louisville, USA Confounding: Contemporary Photography, National Gallery of Victoria, Melbourne, Australia Nature vs Nurture, FaMa Gallery, Verona, Italy Animal/Human, University of Queensland Art Museum, Brisbane, Australia Concepts of Life in Contemporary Sculpture, Georg Kolb Museum, Berlin, Germany Cycle in Cinema, University of NSW, College of Fine Arts, Sydney, Australia The Freeze, Maroondah Art Gallery, Melbourne, Australia Controversy: the power of art, Mornington Peninsula Regional Art Gallery, Melbourne, Australia Chromogenic, 2012, Media House Gallery, The Age building, Melbourne, Australia Inspiring Artists: recipients of the Pat Corrigan Artists Grant, Maitland Regional Art Gallery, Maitland, Australia 2112: Imagining the Future, RMIT Gallery, Melbourne, Australia Power of Making, Victoria & Albert Museum, London, UK Boundaries Obscured, Haunch of Venison , New York, USA Our Origins, Museum of Contemporary Photography at Columbia, Chicago, USA Tokyo Art Meeting: Transformation, Museum of Contemporary Art Tokyo (MOT), Tokyo, Japan Not As We Know It, Haunch of Venison , New York, USA

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2011

2010

The Earth is Blue like an Orange, The Montreal Museum of Fine Arts, Montreal, Canada Medicine and Art, Mori Art Museum, Tokyo, Japan 2nd Asian Art Biennale, National Taiwan Museum of Fine Arts, Taipei, Taiwan

2009

Wonderland: through the Looking Glass, KadE Kunsthal, Amersfoot, The Netherlands Tier-Werden, Mensch-Werden, NGBK, Berlin, Germany Niet Normaal: Difference on Display, Beurs Van Berlage, Amsterdam, The Netherlands Colliding Worlds, Samstag Museum, Adelaide, Australia Contemporary Australia: Optimism, GOMA Queensland Art Gallery, Brisbane, Australia Neo-Goth: Back In Black, University of Queensland Art Museum, Brisbane, Australia

2008

The Stranger, Yvon Lambert, New York, USA Gallery Artists, Conner Contemporary Art, Washington DC, USA Figuring Landscapes, ArtSway, and then travelling UK and Australia until 2010, Hampshire, UK Life (Death Thereafter), Silvershot, Melbourne, Australia The Land of Retinal Delights, Laguna Art Museum, Laguna Beach, USA Bloodline: The Evolution of Form, McClain Gallery, Houston, USA New Millenium, Lismore Regional Gallery, Lismore, Australia FX in Contemporary Photography, McClelland Gallery and Sculpture Park, Melbourne, Australia Global Feminisms, Brooklyn Museum, New York, USA Switcher Sex: Video Works from the Teutloff Collection, Slought Foundation, Philadelphia, USA

2007

Diagnose [Kunst]: Contemporary art reflecting medicine, Museum im Kulturspeicher , Wurzberg, Germany Diagnose [Kunst]: Contemporary art reflecting medicine, Kunstmuseum Ahlen, Ahlen, Germany Down Under: The Hague sculpture 07, Haags Historisch Museum, The Hague, The Netherlands MCA Collection: New Acquisitions, Museum of Contemporary Art, Sydney, Australia Artist Makes Video: Art Rage Survey 1994-1998, Queensland College of Art, Brisbane, Australia Redefined, Corcoran Museum of Art, Washington DC, USA Uneasy Nature, Weatherspoon Art Museum, Greensboro, USA

2006

Long Live Sculpture, The Open Air Museum for Sculpture Middelheim, Antwerp, Belgium Prism, Bridgestone Museum of Art, Tokyo, Japan Black & Blue, Robert Miller Gallery, New York, USA High Tide, Zacheta National Gallery of Art, Warsaw, Poland Out of Line: Drawings from the Collection of Sherry and Joel Mallin, Herbert F Johnson Museum of Art, Cornell University, Ithaca, USA High Tide, Contemporary Art Centre, Vilnius, Lithuania The Idea of the Animal, RMIT Gallery, Melbourne, Australia

藝術家簡歷 Artist's Biography

New to the modern: Heide's Collection 25 years on, Heide Museum of Modern Art, Melbourne, Australia Strange Cargo, Newcastle Region Art Gallery, travelling exhibition until March 2008, Newcastle, Australia Supercharged, Institute of Modern Art, travelling exhibition until June 2008, Brisbane , Australia 2006: Contemporary Commonwealth, Australian Centre for the Moving Image, Melbourne , Australia Epic, Lismore Regional Gallery, Lismore, Australia Home Goal: Diversity in Contemporary Art from the Collection of Dr. Dick Quan, Bathurst Regional Art Gallery, Bathurst, Australia

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Becoming Animal, MASS MoCA, North Adams, USA Detox, Kunstnernes Hus, Oslo, Norway 2005

Figure It Out, Hudson Valley Center for Contemporary Art, Peekskill, USA

I thought I knew but I was wrong, Ssamzie Space, Seoul, South Korea Almost, Robert Miller Gallery, New York, USA Living Apart Together, Odapark Venray, Venray, The Netherlands Extra-Aesthetic: 25 Views of the Monash University Collection, Monash University Museum of Art, Melbourne, Australia Rheinschau Art Cologne Projects, Art Cologne, Cologne, Germany Andererseits: die phantastik, Landesmuseum, Linz, Austria 2004

We Are the World, Chelsea Art Museum, New York, USA Brides of Frankenstein, San Jose Museum of Art, San Hose, USA Auto Fetish: The Mechanics of Desire, Newcastle Region Gallery, Newcastle, Australia Bloom: Mutation, Toxicity and the Sublime, Govette Brewster Art Gallery, New Plymouth, New Zealand I thought I knew but I was Wrong, Jamjuree Art Gallery, Pathumwan, Bangkok, Thailand Adelaide Biennale of Australian Art, Art Gallery of South Australia, Adelaide, Australia Repercussions, Greenaway Art Gallery, Adelaide , Australia The Plot Thickens, Heidi Museum of Modern Art, Bulleen, Victoria Written with Darkness: Selected photographs from the Corrigan Collection, University of Technology Gallery, Sydney, Australia Face Up, Hamburger Bahnhof, Berlin, Germany

2003

Bienal de La Habana, Havana, Havana, Cuba Second Sight, National Gallery of Victoria, Melbourne, Australia see, here, now, The Ian Potter Museum of Art, Melbourne, Australia Liverpool Biennale: International 2002, Tate Liverpool, Liverpool, England

2002

(The world may be) fantastic: 2002 Biennale of Sydney, Object Gallery, Sydney , Australia Tech / No / Zone, Museum of Contemporary Art, Taipei, Taiwan Melodrama: Lo Excesivo en la Imaginaci_n Posmoderna, Artium, Centro Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain Modified Terrain, Institute of Modern Art, Brisbane, Australia conVerge; where art and science meet, Art Gallery of South Australia, Adelaide, Australia Heterosis: Digital Art from Australia, Conde Duque, Madrid, Spain For Real, Wood Street Galleries, Pittsburgh, United States 2nd Berlin biennale, Postfuhramt (Old Postal Services Building), Berlin, Germany hybridforms: Australian new media art, Netherlands Media Art Institute, Amsterdam, The Netherlands

2001

Melbourne Festival, The Australia Projects, Melbourne Zoo and RMIT Gallery, Melbourne, Australia Seeing through Landscape, Australian Centre for Photography, Sydney , Australia Desire, Royal Melbourne Institute of Technology Gallery, Melbourne, Australia Gwangju Biennale, Gwangju City Art Museum, Gwangju, Korea Song of the Earth, Museum Fridericianum, Kassel, Germany Passing Time: The Möet & Chandon Exhibition, Art Gallery of New South Wales, Sydney, Australia Terra Mirabilis: Wonderful Land, Centre for Visual Arts, Cardiff, Wales Zeitgeössische Fotokunst Aus Australien, Neuer Berliner Kunstverein, Berlin, Germany Zeitgeössische Fotokunst Aus Australien, Museum Schloss Hardenberg, Velbert, Germany Zeitgeössische Fotokunst Aus Australien, Kunstsammlungen, Chemnitz, Germany Zeitgeössische Fotokunst Aus Australien, Kulturzentrum der Stadt Stuttgart, Stuttgart, Germany Flow, National Art Gallery, Kuala Lumpur, Malaysia Bonheurs des Antipodes, Musée de Picardie, Amiens, France Make/Believe, The Fabric Workshop and Museum, Philadelphia, USA

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2000

Sporting Life, Museum of Contemporary Art, Sydney, Australia Plastic Life, Level 2, Art Gallery of New South Wales, Sydney, Australia Akihabara TV 2, Akihabara electrical stores, Tokyo, Japan Signs of Life: Melbourne International Biennial, Telstra Exchange Building, Melbourne , Australia A Window Inside Outside, Gwangju City Art Museum, Gwangju, Korea

Selected Awards 2014

Lifetime Achievement Award, Melbourne Art Foundation

2006

New York Residency, Australia Council

2002

International Cultural Exchange Program, Arts Victoria

2000

New Media Fellowship, Australia Council

1999

Arts Development grant, Arts Victoria

1998

Tokyo Residency, Australia Council

1997

Project Grant, Australia Council International Cultural Exchange Program, Arts Victoria

1996

Project Grant, Arts Victoria

1991

Christopher James Blyth Memorial Award, Victorian College of the Arts

1990

Theodore Urbach Award, Victorian College of the Arts

1989

Theodore Urbach Award, Victorian College of the Arts

Selected Public Collections National Museum of Women in Art, Washington DC, USA Pheonix Art Museum, Arizona, USA Middelheim Museum, Antwerp, Belgium 21C Museum, Louisville, Kentucky, USA National Gallery of Australia, Canberra, Australia National Gallery of Victoria, Melbourne, Australia Art Gallery of New South Wales, Sydney, Australia Queensland Art Gallery, Brisbane, Australia Art Gallery of South Australia, Adelaide, Australia Monash University, Victoria, Australia Newcatle Region Art Gallery, New South Wales, Australia

104

藝術家簡歷 Artist's Biography

The University of Melbourne, Victoria, Australia Griffith University, Queensland, Australia Waverley City Gallery, Melbourne, Australia Bendigo Art Gallery, Victoria, Australia Parliament House, Canberra, Australia Artbank, Australia

105

106

策展人簡歷 Curator's Biography

策展人簡歷陳明惠，國立成功大學創意產業設計研究所專任助理教授，及成大藝術中心展覽組組長。英國羅芙堡大學藝術史及理論哲學博士，英國政府 ORS 獎學金得主。2009-2012 年任教於英國 De Montfort University，2009-2011 年為美國紐約 Transart Institute 訪問教師。以中、英文出版多篇文章於國際重要期刊與學術專書，包含：《Else Art Journal: art, literature, theory, creative media》、《Triennial City》(Manchester: Cornerhouse)、《n.paradoxa》等， 2015 年主編出版《跨界：當代藝術中的游轉與鄉愁》專書 ( 典藏出版社 )。同時為國際策展人，已完成之展覽策畫包括《可蘭經．頌：挪威當代藝術家安．蘭》( 成大藝術中心，2016)、《表相皮層：英國藝術家費爾．賽耶》( 高雄市立美術館，2015)、《突擊共和國 Pop-up Republics》(2014 英國曼特斯特亞洲藝術三年展 Asia Triennial Manchester 2014)、《後人類慾望》( 台北當代藝術館，2013-2014)、《美麗人生：記憶與懷舊》( 英國、台灣三展場巡迴展， 2011-2012)。

Curator's Biography Ming Turner is an Assistant Professor at the Institute of Creative Industries Design at National Cheng Kung University (NCKU) in Taiwan, and is also Head of Exhibitions at NCKU Art Center. She received her PhD in Art History and Theory at Loughborough University in the UK, with an ORS award from the British Government. She lectured at De Montfort University (UK) in 2009-2012, and was a visiting faculty at Transart Institute (New York) in 2009-2011. She has published widely in both English and Chinese in many international journals and publications, including Else Art

Journal: art, literature, theory, creative media, Triennial City (Manchester: Cornerhouse) and n.paradoxa (2010, 2012). In 2015, she published Crossing

Borders: Transition and Nostalgia in Contemporary Art, as the first editor, by Art and Collection Group Ltd. in Taipei. Turner is also an international curator, and her completed projects include Qu’Ran Chorus: Ane Lan (NCKU Art Center, 2016), Surface Epidermis: Phil Sayers (Kaohsiung Museum of

UK, 2014), Post-humanist Desire (MOCA Taipei, 2013-2014) and Beautiful

Life: Memory and Nostalgia (UK and Taiwan, 2011-2012).

107

Fine Arts, 2015), Pop-up Republics (Asia Triennial Manchester, Manchester

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109

2016/5/22 開幕座談 | 2016/5/22 Opening Forum

身體風景：派翠西亞 ‧ 匹斯尼尼展期 | 2016. 5/22-9/11 策展人｜陳明惠

發行人

葉毓繡

展覽執行

總編輯

李足新

毓繡美術館

執行編輯

黃翔、陳明惠

創辦人

葉毓繡

美術編輯

林志遠

館長

李足新

展間攝影

林志遠

副館長

林志遠

翻譯

黃亮融

展覽策劃

黃翔

英文校稿

陳柯林

教育推廣

陳雨農、黃尹珊

出版單位

財團法人毓繡文化基金會 / 毓繡美術館

公關行銷

蕭翊安

地址

542 南投縣草屯鎮平林里健行路 150 巷 26 號

美術設計

林志遠

電話

049-2572999

行政業務

丁慧玲、蔣鴻濱

傳真

049-2572020

文創推廣

洪淑惠、葉宇眉

網址

www.yu-hsiu.org

印刷

上好印刷股份有限公司

定價

1200 元

初版一刷

2016 年 06 月

ISBN

978-986-8992-3-8 ( 精裝 )

BODY SCAPE: PATRICIA PICCININI Exhibition Dates | 2016. 5/22-9/11 Curator ï½&#x153; Ming Turner

Publisher: Yu-Hsiu Yeh

Working Team of the Exhibition

Chief Editor: Chu-Hsin Lee

Yu-Hsiu Museum of Art

Executive Editors: Hsiang Huang, Ming Turner

Founder: Yu-Hsiu Yeh

Designer: Jaakan Lin

Executive Director: Chu-Hsin Lee

Photographer: Jaakan Lin

Deputy Director: Jaakan Lin

Translator: Liang-Rong Huang

Exhibition Organizer: Hsiang Huang

Proofreader: Colin Turner

Communication and Education: Yu-Nong Chen, Yin-Shan Huang

Publisher: Yu-Hsiu Cultural Foundation/ Yu-Hsiu Museum of Art

Publicity: Yi-An Shiau

Address: No.26, Ln. 150, Jianxing Rd., Caotun Township,

Designer: Jaakan Lin

Nantou County 542, Taiwan Telephone: +886-49-2572999 Fax: +886-49-2572020 Website: www.yu-hsiu.org Printed by Shang Hao Print Co., Ltd. Price: NTD 1,200 First Published in June 2016 ISBN: 978-986-8992-3-8 Hardback Edition All Rights Reserved by the Artist, Curator and Yu-Hsiu Museum of Art

Administrators: Huei-Ling Ding, Hong-Bin Jiang Cultural and Creative Marketing: Shu-Hui Hong, Yu-Mei Yeh

國家圖書館出版品預行編目 ( CIP ) 資料

身體風景：派翠西亞 . 匹斯尼尼 / 李足新總編輯 . -- 初版 . -- 南投縣草屯鎮：毓繡文化基金會 , 2016.06 112 面；23.5 X 28 公分 ISBN 978-986-89922-3-8( 精裝 ) 1. 現代藝術 2. 作品集 902.71

105010068