殘酷母器 蔡佳宏個展
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
／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.
／藝術家介紹 About Artist／
出生於1994年。2016年畢業於國立臺南藝術大學，材質創作與設計系。2022年畢業於國立臺南藝術大學，應用藝術研究所陶瓷組。
現居於臺北、高雄。為藝術創作者與視覺設計師。面對著個人的身體狀態與肉身記憶，我關注的是如何在創作過程中召喚出潛在的情動力，在陶瓷創作的領域中，反覆實驗「土」與「身」之間的多重纏捲狀態──讓「意識」、「肉身」與「物質」，在陶土創作的過程中，產生一種新的關係與重組，身體猶如一張被潛抑的情緒地圖，同時也是一座被記憶所雕塑的軀體。
「土」這個媒材已非僅僅是展現我思想的載體，其中具有更深層的意義：與我的生命產生緊密連結所畫出的蜿蜒軌跡，雖有其內向性，卻也同時展現「人的生存普遍情狀」。在創作過程中，陶瓷雕塑在飽含著儀式性的摔、揉、捏、塑的過程中，在這看似不顧結果也無關視覺美感的動作下，是從無到有的堆疊；再從有之中掏空與變形，或許有重建也有破壞，這其中所有紛雜細碎的思緒在經歷火的燃燒後凝固定格，也彷彿自我的一部分得到了安頓與輕盈。
Tsai Jia-Hong, Born in 1994, Taiwan. Graduated from Tainan University of the Arts in 2016, Department of Material Creation and Design. Graduated from Tainan University of the Arts in 2022, Ceramics Group, Institute of Applied Arts.
Currently living in Taipei and Kaohsiung. As an art creator and visual designer. How to call potential emotional driving through the process of creation is the path I keep exploring. For ceramics creation, what I repeatedly experiment with is a state of "things coiling around each other." I believe that "consciousness, body, and materials" in everyday life could be given a new set of sensory experiences restructured during the process of creating ceramics. A body is like a map of hidden emotions and a sculptured figure carved by memories.
The medium of "clay" is no longer just a carrier to express my thoughts, it has a deeper meaning: closely connected with my life, the winding path left behind. Although it is introverted, it also expresses "human beings universal conditions of life". Currently, I am actively dealing with how ceramic creation can enter the field, how to shape a more open text, escape from the independence and isolation of ceramic objects, and penetrate into the spatial field from a single object. At the same time, I am exploring various possibilities for the display of contemporary ceramics form. Integrating the field through space, from gazing to looking around, expands the agency of the object itself, and reshapes the viewing form of ceramic sculptures.
／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
類型： 人文藝術展覽
日期 ： 2025-08-14 至 2025-09-21 (一至兩個月內)
地點： 台灣臺南市 絕對空間
地址： 台南市中西區民生路一段205巷11號
主辦單位： 絕對空間
