殘酷母器 ─ 蔡佳宏個展
The Cripped and Queered Vessel ─ Tsai Jia-Hong Solo Exhibition
展期 Duration｜2025.08.14 (thu) - 09.21 (sun)
策展人 Curator｜ 呂瑋倫 Lu Wei-Lun
藝術家 Artist｜ 蔡佳宏 Tsai Jia-Hong
地點 Venue｜絕對空間 Absolute Space for the Arts
開幕 Opening｜2025.08.17 (sun) 15:00
座談 Forum｜2025.08.17 (sun) 15:30
座談與談人 Forum Guest｜呂瑋倫 Lu Wei-Lun
插畫與視覺設計 Illustration & Visual Design | 蔡佳宏 Tsai Jia-Hong
꒰ঌ┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈໒꒱
／展覽論述 Statement／
據說，三萬年前多瑙河畔的第一尊母神陶像，就是集孕育、祈請、願望與慾望於一身的器具。自此之後，一支不斷增生的母神之體在人類文明裡誕生，我們共享著她的蝶變，在父系的索求與母性的建構下，鑿出正典與豐饒。然而神話之外，她的身體並不總是充滿神性，願望與慾望的背後，是被父系文明與生殖主義排除的邪典與畸零。藝術史上，一支傷殘的譜系出現了。母神的遺血就留在這裡，第一次，不再生娩任何東西。
蔡佳宏自2019年以來，作品圍繞著疾病與創傷展開。過程中她不斷思考生命與肉體的關係，並將對死與痛的凝視，復現在對材質的迷戀裡，創造出一種腐敗的美學、病態陶器。陶器在正典神話的敘事裡卻早不是這樣。在他們的歷史裡，飽和的線條和完滿的隆起，甚至都是母體的隱喻。蔡佳宏很早就勢必告別這樣的天語，走進真實和殘酷之中。
本展以「母器」回應這一從神到體的意符，也意欲指出她的悠遠與歧義。在這一支傷殘的譜系裡，她們的母器皆喪失了正典文化下的健全意涵，頓挫了母神的喻說。然而在真實的生命中，「殘」（crip）與「酷」（queer）或也交織出另一種意識，她瓦解了線性的生殖主義時間，鬆動了母器與功能的歷史，在失序而不可控之際，那裡的傷殘女體、病態子宮，從這裡開始獨立——
事實上，我不知道她們的終點在哪。但我幻想，她終究告別古典的魔咒，面見另一種欲望與慈悲。
It is said that the first goddess figurine, which appeared along the banks of the Danube thirty thousand years ago, was a vessel embodying fertility, invocation, yearning, and desire.
Since then, a proliferating lineage of goddess-bodies has emerged across human civilization. We were part of her metamorphosis—one shaped by the demands of patriarchy and the scripting of maternity—that sculpted both canon and abundance.
But beyond the reach of myth, her body is not always divine. Behind yearning and desire lie the cult and the abject—forms cast out by patriarchal civilization and reproductive ideology. A crip lineage surfaces in the history of art. The blood of the goddess lingers here. For the first time, it gives birth to nothing.
Since 2019, Tsai Jia-Hong’s practice has unfolded through illness and trauma. In the process, she has continually reflected on the relationship between life and flesh. Her steady gaze upon death and pain reappears as an obsession with material—giving rise to a decaying aesthetic, a ceramic practice attuned to pathology. Within the canonical mythos, however, the ceramic vessel has long symbolised something else: saturated contours and perfect swellings—metaphors for the maternal body. Tsai turned away early from that heavenly lexicon, stepping instead into the real—into the cripped and the queer.
This exhibition takes the “mother-vessel” as both response and provocation—a symbol shifting from the divine to the body, gesturing toward its lingering ambiguities and spectral traces. Within this crip lineage, these mother-vessels no longer carry the intact meanings once assigned by cultural canons. They frustrate the allegory of the goddess and fracture its logic. Yet in lived experience, crip and queer may well intertwine into another mode of consciousness—one that dismantles the linear temporality of reproductive ideology, loosening the historical bind between the mother-vessel and its utility. In a moment of disorder and unmaking, the crip female body, the pathological womb, begins to take a departure—
although I do not know where it leads, I imagine she will ultimately bid farewell to the enchantment of classicism, to encounter another kind of desire, another kind of compassion.
／展覽補助 Sponsor／ 臺南市政府文化局
／空間營運補助 Sponsor／ 國家文化藝術基金會
Also check out other Arts events in Tainan, Business events in Tainan, Exhibitions in Tainan.
|
