帕翠西亚·皮奇尼尼
《离心爱之园》
2026年3月6日 - 5月8日
游廊画廊很高兴地呈现澳大利亚艺术家帕翠西亚·皮奇尼尼（Patricia Piccinini）的全新作品《离心爱之园》，此次展览延续艺术家实践中的核心脉络，探寻当自然与科技的边界消融，我们该如何彼此关怀？
在参观了墨尔本的一家医学研究机构后，皮奇尼尼对类器官（organoids）产生了浓厚兴趣。类器官是通过实验室培养技术制造出的人体器官的小型模型，它们被悬浮在玻璃容器中，并在营养溶液中缓缓旋转，处于细胞群与完全成型器官之间的过渡状态。这些活体形态由生物材料和技术干预制造而成，其制作过程是人工的，但物质属性却是天然的。它们处于一种临界状态，这与皮奇尼尼长期以来对那些难以归入固定类别的事物的兴趣相契合，这些存在既非完全属于某一类，也非完全属于另一类，而是二者兼具。
在《离心爱之园》中，毛发成为贯穿作品的核心，与皮奇尼尼过往作品常呈现出亲密悬停的凝滞感，仿佛随时可能因微风或空调气流而轻颤飘动不同。在此次展览中，这种转瞬即逝的动态被转化为持续而刻意营造的律动。悬浮的形态持续旋转，毛发在空间中划出弧线循环流动，既具生命力又显惰性，既生长于躯体又可独立存续，承载着艺术家创作核心的模糊性，从表面细节转化为驱动能量。
展厅内，两个像鸟一样的身影紧紧相拥，这种拥抱既充满温情又透着必然性。作品之间的紧密排列模仿了南极洲的企鹅群落，它们的生存依赖于群体的协同行动。通过在外缘与温暖中心的持续轮换，企鹅将体温在群体中重新分配，展示了生存力并非源于个体强韧，而在于共享。在此，关怀成为动态的交换系统。
艺术家的创作核心还延伸至作品《幽灵》与《鞋形（被子植物）》，它们打破了植物、动物和机器之间任何明确的界限。这些混合形态所处的世界中，技术并非凌驾于生命之上，而是完全融入了生命之中。皮奇尼尼并未哀叹界限的消逝，而是表明混沌正是我们当下的生存状态。在这个世界里，责任与同理心并非可有可无的理想，而是共生的必要之道。
《离心爱之园》意在展现生存之道不在隔绝，而在亲近。在这个混乱而脆弱的世界里，关怀化作循环的力量，通过共享脆弱维系着生存。
Installation photography by Document Photography
About The Artist
Patricia Piccinini was born in Sierra Leone and lives in Australia. Her work encompasses sculpture, photography, video and drawing and her practice examines the increasingly nebulous boundary between the artificial and the natural as it appears in contemporary culture and ideas. Her surreal drawings, hybrid animals and vehicular creatures question the way that contemporary technology and culture changes our understanding of what it means to be human and wonders at our relationships with – and responsibilities towards – that which we create. While ethics are central, her approach is ambiguous and questioning rather than moralistic and didactic.
“My practice is focused on bodies and relationships; the relationships between people and other creatures, between people and our bodies, between creatures and the environment, between the artificial and the natural. I am particularly interested in the way that the everyday realities of the world around us change these relations. Perhaps because of this, many have looked at my practice in terms of science and technology, however, for me it is just as informed by Surrealism and mythology. My work aims to shift the way that people look at the world around them and question their assumptions about the relationships they have with the world.”
- Patricia Piccinini
In 2003 her exhibition We Are Family represented Australia at the 50th Venice Biennale before touring to the Hara Museum, Tokyo (JPN) and the Bendigo Art Gallery, (AUS). Her solo museum survey exhibitions ComCiência at CCBB toured to São Paulo, Brasília, Rio De Janeiro and Belo Horizonte in Brazil and was named the most popular contemporary art exhibition in 2016 by The Art Newspaper. Other solo museum exhibitions include Curious Affection at QAGOMA in Brisbane, En Kaerlig Verden at Arken in Copenhagen, Relativity at the Galway International Art Festival, Hold Me Close To Your Heart at Arter Space For Art, Istanbul, Once Upon a Time, Art Gallery of South Australia, Relativity at the Art Gallery of Western Australia, Evolution at the Tasmanian Museum and Art Gallery, (tiernas) Criaturas/(tender) Creatures at Artium, Vitoria-Gasteiz (Spain), Hug: Recent Works by Patricia Piccinini at the Frye Museum, Seattle, and Des Moines Art Centre, Des Moines (USA), In Another Life at the Wellington City Gallery, Wellington (NZ), Call of the Wild at MCA, Sydney and Retrospectology at ACCA, Melbourne. Since The Shadows Calling at Detached (Hobart) in 2015, Patricia has installed a number of major exhibitions in non-traditional spaces including Curious Imaginings at the Patricia Hotel in Vancouver and A Miracle Constantly Repeated in the Flinders Street Station Ballroom in Melbourne on 2021. Patricia was also represented in the 2nd Asian Art Biennale (Taipei 2009), Bienal de La Habana (Cuba 2003), Sydney Biennale (Australia 2002), Liverpool Biennale (UK 2002), Berlin Biennale (Germany 2001) and Gwangju Biennale (Korea 2000). Her work has been included in included in The Coming World at Garage MCA, Moscow (Russia 2019), XXII Triennale di Milano, Broken Nature, Milan, (Italy 2019), Melbourne Now at the NGV, Melbourne (Australia 2013), Medicine and Art and Future and the Arts at Mori Art Museum, Tokyo (Japan 2009), Wonderland at KadE Amersfoot (Netherlands, 2009), Global Feminisms at the Brooklyn Museum, New York (USA 2007), Uneasy Nature at the Weatherspoon Art Museum, Greensboro (USA 2006), Becoming Animal at MASS MoCA, North Adams (USA 2005) and Face Up at the Hamburger Bahnhof, Berlin (Germany 2003). In 2013 she was commissioned by the Centenary of Canberra to create The Skywhale, which was joined in 2020 by Skywhalepapa.
Patricia Piccinini received a BFA from the Victorian College of the Arts, Melbourne in 1991. In 1994 she initiated The Basement Project Gallery in Melbourne, which she coordinated until 1996. She is represented by Tolarno Galleries, Melbourne, Roslyn Oxley9 Gallery, Sydney. In 2014 she was awarded the Melbourne Art Foundation Visual Arts Award. In 2016 she was awarded a Doctor of Visual and Performing Arts (Honora Causa) from the Victorian College of the Arts and appointed as Enterprise Professor at the Victorian College of the Arts, University of Melbourne. Her studio and home are on Wurundjeri country in Naarm (Melbourne), Australia.