艺术果酱｜超现实主义雕塑：派翠西亚·匹斯尼尼
#我们都是一家人
we are family
Born in Freetown, Sierra Leone in 1965, Patricia Piccinini is an Australian artist who works with various mediums, including painting, video, sound, installation, digital prints, and sculpture. She earned her Bachelor of Fine Arts degree in Painting from the Victorian College of the Arts in 1991. In 2014, she was awarded the Artist Award at the Melbourne Art Foundation’s Visual Arts Awards.
派翠西亚·匹斯尼尼1965年出生于塞拉利昂的弗里敦，是一位澳大利亚艺术家，使用多种媒材作为创作，包括绘画、录像、声音、装置、数位印刷和雕塑。她于1991年获得维多利亚艺术学院绘画美术学士学位。2014年，她获得墨尔本艺术基金会(Melbourne Art Foundation)视觉艺术奖的艺术家奖。
Piccinini represented Australia at the 50th Venice Biennale in 2003, presenting the “We Are Family” series. In 2014, she received the Melbourne Art Foundation’s Visual Artist Award.
曾于2003年代表澳洲参加第50届威尼斯双年展，展出《我们都是一家人》(We Are Family)系列，并于2014年获墨尔本艺术基金会(Melbourne Art Foundation)视觉艺术家大奖。
《我们都是一家人》
Piccinini explores the impact of technology on our lives through her artistic creations, fascinated by how the natural and artificial transform our society. Her work often involves facets such as biotechnology, gene therapy, and human genetic makeup, delving into the mechanisms of consumer culture. Piccinini’s creations exude a surreal, spectacular, and enigmatic vibe; the metaphor of her works often provokes contemplation.
匹斯尼尼利用艺术创作来探讨科技对我们生活的影响，她对于自然与人工如何改变我们的社会深感兴趣，作品常涉及生物科技、基因治疗、人类基因结构等面向，并探讨人们消费文化的机制。匹斯尼尼的作品常散发出一种奇观、惊艳与神秘感，作品的隐喻性往往发人省思。
#The Skywhale
The Skywhale, commissioned by the Australian Capital Territory (ACT) for its centenary, is described by ABC as “a hot air balloon shaped like a kind of turtle creature, with 10 dangling enormous pendulous udders.” Budgeted at $300,000, the project became a subject of commentary from ACT Chief Ministers Jon Stanhope and Andrew Barr.
The Skywhale 是澳洲首都领地政府（Australian Capital Territory，ACT）为其百周年委托的作品。美国广播公司将这项作品描述为“一种乌龟般的动物形状的热气球，由四公顷尼龙制成的悬挂式巨大的悬崖”。该项目的预算为30万美元，并已成为ACT首席部长Jon Stanhope和Andrew Barr的评论主题。
We Are Connected
The exhibition “Patricia Piccinini: We Are Connected” takes viewers on an emotionally evocative journey through a display of surreal sculptures. Piccinini’s mechanized animals, mutant humans, and enigmatic creatures symbolize a world filled with wonder and peculiarity.
《Patricia Piccinini: We Are Connected》展览通过展出一众唯美怪诞的雕塑，带你踏上一场充满情感触动的别开生面之旅。Piccinini 创作的超现实雕塑以机械化动物、变种人类和神秘的怪诞生物等形式呈现，象征着这个充满惊奇和怪异的世界。
Unlike those dystopian sci-fi blockbusters filled with malicious aliens, monsters, and robots, Piccinini appreciates all things unconventional. Her hybrids are not designed to evoke discomfort or offend, but rather to highlight the shared existential foundation we have with animals, plants, and other living beings. Simultaneously, these hybrids remind us of our interconnectedness with nature. Piccinini’s surreal creations stem from her interest in beauty and corporeality, employing materials like silicone, fiberglass, resin, and even human hair to achieve hyper-realistic skin and wrinkles.
不像好莱坞那些反乌托邦式的科幻电影，充斥着邪恶的外星人、怪兽和机器人袭击人类的桥段，Piccinini 赞美一切“与众不同”的事物。 她创造混种生物并不是为了引起不适或冒犯任何人，而是为了展示我们与动物、植物和其他生物所共同拥有的存在基础。同时，这些混种生物提醒着我们，我们与自然相互依存。她的超现实创作源于她对美和躯体的兴趣。她用硅胶、玻璃纤维、树脂甚至人类毛发等材料做出皮肤和褶皱等逼真效果。
These creatures appear as both medical specimens and curious artifacts from a cabinet of curiosities, telling stories of the world as it is and envisaging its future. However, within Piccinini’s world, a hint of imagination and a departure from scientific scrutiny counterbalance the exploration of cultural norms and stereotypes of “attractive bodies.” Serious yet humorous, Piccinini questions these norms and stereotypes, provoking reflection.
这些生物拥有真实精致的外形，徘徊在奇幻与真实之间，挑起我们排斥与接纳的复杂情感。Piccinini 让观看者与她的作品建立起情感联系。这些生物看起来就像医学标本，又像珍奇屋里的稀奇物件，讲述着这个世界的故事，预想着这个世界的未来。然而，在 Piccinini 的世界里，有一丝想象和跳脱抵消着来自科学的审视。兼具幽默和严肃，Piccinini 向“好看的躯体”这一文化规范和刻板印象提出质问。
The hybrids that Piccinini creates are not a distant future; they are closer to reality than one might imagine. These peculiar hybrids have a name – Chimera, derived from Greek mythology, referring to a creature with a lion’s head, a goat’s body, and a snake’s tail. Today, the myth could potentially become a reality as a gene-editing technology called “clustered regularly interspaced short palindromic repeats” (CRISPR) has radically changed the way cancer is researched and genetic diseases are treated. This technology also opens up possibilities for the fusion of human, animal, and plant genes. While the use of CRISPR for human gene editing is still subject to bioethical debates, Piccinini’s focus lies on the Chimera itself.
Piccinini 创作的混种生物并非遥远的未来。它们比你我想象中更接近现实。这些奇特的混种生物有一个名字——奇美拉。这个名字源于希腊神话，指一种狮首、羊身、蛇尾的神兽。如今，神话将可变成现实。一项名为“规律成簇的间隔短回文重复”（CRISPR）基因编辑技术彻底改变了癌症的研究方法，颠覆了遗传疾病的治疗方式。同时，这项技术让人类与动物和植物基因融合成为可能。关于用 CRISPR 技术编辑人类基因，尽管目前仍有生物伦理方面的争论，但 Piccinini 的关注点在于奇美拉本身。
What are our responsibilities towards the things we create or design? Where do they fit in our ecosystems? Are they our slaves or our children?
对于我们创造的事物或设计来说，我们有什么样的责任？它们在我们的生态系统中处于什么位置？它们是我们的奴仆，还是我们的孩子？
Piccinini’s works exist at the cutting edge of art, science, and technology, in a new realm where sci-fi themes, surrealism, feminism, and environmentalism intersect. She challenges us to envision a world populated with diverse forms of life, a multi-species world created out of love, empathy, and an innate connection to nature.
Piccinini 的创作位于艺术、科学和技术领域的尖端，一个科幻主题、超现实主义、女性平等主义和环保主义交叉融合的全新境界。她向我们提出挑战，让我们想象一个充满形态各异的生物的世界，这个多物种世界是她出于关爱情感、同理心和对自然的直觉创造的。
Through sculptures, installations, collages, and videos, Piccinini encourages us to ponder the technological era we inhabit and explore our relationships with other species and ecosystems. In her exhibition, she calls on humans to further reflect on themselves, give more love, take more responsibility, and be more open and inclusive.
Piccinini 通过雕塑、装置艺术、拼贴画和视频，鼓励我们思考自身所处的科技时代，鼓励我们探索自身与其他物种和生态系统的关系。她在展览中呼吁人类进一步反思自身、给予更多关爱、承担更多责任和更加开放包容。
This exhibition is co-organized by the ArtScience Museum, the Institute for Cultural Exchange, and artist Patricia Piccinini.
该展览由艺术科学博物馆、艺术机构 Institute for Cultural Exchange 、艺术家 Patricia Paccinini 合作举办。
