數位擬態－論派崔西亞·佩契妮妮的美麗新世界

Digital Simulation-The Brave New World of Patricia Piccinini

黃文宗

《設計學研究》 7卷1期 (2004/07) Pp. 1-16

https://doi.org/10.30105/JDS.200407.0001

摘要

派崔西亞•佩契妮妮(Patricia Piccinini)是澳洲頗具代表性的當代數位藝術家之一,會多次參加國際性的大展如德國柏林、韓國光州、英國利物浦雙年展等等，亦會應邀參加台北當代藝術館2002年的「科技禁區」-當代媒體藝術展，今年更以《The Young Family》和《Game Boys Advanced》代表澳洲參加第五十屆威尼期雙年展。她關切倫理議題、構成「生命」的元素以及對變態形態形體的社會態度和責任(Ewen McDonald,2002)。她的數位藝術作品以外的急劇變化的高科技物質環境為經，以內的潛伏的人體變種危機為緯，交織出出藝術家個人對於未來世界人造化、數位化、異端化的憂慮。本文以觀念藝術的角度出發，思考佩契妮藝術創作的意涵，同時探討以數位科技作為藝術載體的創作趨勢。

關鍵字

派崔西亞 ； 佩契妮妮 ； 當代藝術 ； 數位藝術 ； 媒體藝術 ； 觀念藝術

並列摘要

Patricia Piccinini is one of the representative digital artists of contemporary art in Australia. She has been invited to exhibit at many famous international exhibitions such as the Berlin Biennial in Germany, Gwangju Biennial in Korea, Liverpool Biennial in UK etc. Last year, she also exhibited her artworks in TECH/NO/ZONE - an exhibition at the Museum of Contemporary Art in Taipei. Now she is representing Australia at the 2003 Venice Biennial with sculpture. She is concerned with ethical issues, with what constitutes 'life' and, especially, with social attitudes and responsibilities toward mutant forms (Ewen McDonald, 2002). Her digital artworks not only reflect the rapid change of material world outside but also reveal the crisis about varieties of human body inside. These factors interlace the anxiety from the artist about the increasingly artificial, digital and deformed world. In this thesis I would like to discover the implication of her art works from the angle of Concept Art and discuss the trend of technology as an artistic medium.

並列關鍵字

Patricia Piccinini ； contemporary art ； digital Art ； media art ； conceptual art

參考文獻

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