緩步動物作為當代藝術策展及研究組織,致力開發多元藝術教育與生產方法。在邁向全球氣候危機與人工超智能時代之際,聚焦於未來身體政治、生態與文化所需不斷革新演進或淘汰的能力、技術與視野。
緩步動物將發展各種微動作大行動作為關照生命與環境的思考和行動的方略,並以藝術作為介媒,鼓勵學習身體心智意識的探索,作為全人教育的積極實踐。
受到緩步動物門生物的啟發,以隱生技術和嗜極能力直接挑戰太空極端環境與後人類世的生存狀態——挪借這些微生物強悍多元的適性與耐抗力作為組織的創始精神,採微觀思維及具體行動去激發我們創造不同生命形式的未來共生提案,並對現下生活提出反思。
緩步動物由台灣策展人呂岱如於 2021 年創立,推廣不分領域的藝術研究、生產、教育及跨文化的對話與國際合作。
註:緩步動物(學名:Tardigrades)是俗稱水熊蟲(water bears)或苔蘚豬(moss piglets)的一類小型動物,組成被稱為緩步動物門(學名:Tardigrata)的分類單位。水熊蟲主要生活在淡水的沉渣、潮濕土壤以及苔蘚植物的水膜中,少數種類生活在海水的潮間帶。有記錄的大約有1000餘種,其中許多種是世界性分布的。在喜馬拉雅山脈(海拔6000米以上)或深海(海拔-4000米以下)都可以找到牠們的蹤影。直到今日,人們對緩步動物在動物分類中的位置、形態學、生活方式、組織學以及其隱生性的研究興趣有增無減。
緩步動物也是第一種已知可以在太空中生存的動物。2019年2月21日,以色列的月球著陸器創世紀號嘗試登陸在月球澄海北端失敗,其中拱門任務基金會內含數以千計水熊蟲的貨物散播到了月球表面。(摘自維基百科)
Founded by Esther Lu in 2021, Moss Piglets is a non-profit curatorial and research entity dedicated to contemporary art practices that focus on alternative art education and production. This organization cultivates collective processes and interdependent production to encourage people to form new relations and alignments with their surroundings, using art as a common connector. Moss Piglets is concerned with how – in an age where Artificial Intelligence, or hyperintelligence, is fast becoming a major evolutionary force and the ecological crisis is tangible – future body politics, ecology, and culture are inevitably declining.
Act Tiny Move Big is the working principle that informs and develops Moss Piglets’ practice and methodology to generate different forms of care for life and nature. For Moss Piglets, the phrase, Act Tiny Move Big, refers to an eco-sensitive awareness, to remind us to work with restraint while aiming to maximize social impact. With art as the medium for holistic education, Moss Piglets embraces the act of learning through doing, to keep transforming our bodies, minds and awareness.
The name Moss Piglets gestures to the resilience and adaptability of tardigrades (1), also known as water bears or moss piglets, which are a phylum of micro animals that can survive in harsh conditions, even in outer space. By adopting this name, our organization proposes a symbiotic future in microscopic perspectives and active practices, reflecting our ways of being present amidst the urgencies of our time. Moss Piglets facilitates cross-cultural dialogues and multidisciplinary collaborations to generate the creative flow of art research, production, and education.
處在全球氣候危機日益加劇,人工超智能時代臨到之際,人類首度處在對二、三十年後的未來社會幾乎難以掌握的窘境——我們不知將需要遷往何方,歷經幾波大規模的技術革命、失業潮及社會重組,如何與 AI 機器人展開社交關係與生活。在大數據掌握各種選項和議程的同時,我們和地球上的物種都將在新一番的生存遊戲中,開展各種新技能的學習。關於地球的下一步進化生存史,這些學校從來沒有教、也無法料想到的事,緩步動物將邀請未來的人類一起用月球視角來預演。
我們將透過集體智慧擘劃藍圖,也將通過研究和各項實驗性的計畫來展開思辨,更關鍵的是,我們相信在這一波進化歷程裡,藝術將是我們還能持存人性與創造力的方法及路徑。為此,我們連同各地的藝術家,展開了各種學習課程的開發。全人教育的實踐在於日常點滴的打開與練習。我們將一起練身體,重新聆聽、領受、探索我們內外粒子的潛質,並學習建構各種關於共生的世界觀與智慧。
The global climate crisis and the coming age of hyperintelligence forecast a future society that is almost impossible for us to predict or prepare for. We do not know where we will need to relocate to, or what kind of large scale technological revolutions we will experience. Consequently, we are unsure what kind of social reforms and experiences of unemployment we will encounter, or even, how to create and live a social life alongside Artificial Intelligence. As big data further controls agendas and options, all living forms of life on Earth will need to evolve new skills to survive in society. Moss Piglets invites future-forward humans to rehearse our next evolution from the Moon's perspective.
We imagine and illustrate the future with our collective wisdom, and begin our speculations via all sorts of research and experimental projects. We believe art is the most critical methodology and can serve as a passageway for us to usher in the next wave of evolution.
為了開發出各種可持續成長與革新的系統性課程內容計畫以及各種獨立主題計畫,我們將投注心力來開發不同的教育方法學和學習內容。這些透過與多樣領域背景的藝術家所共同發展的課程內容將效法緩步動物(水熊蟲)具有高度可適性來與不同環境脈絡交會出沈浸式的教學可能,不論是在大自然中、美術館的特定展覽裡、螢幕上的遠距互動、或其他特定場域等,課程計畫將開展出相應的活動生態,趨近棲地自由、無疆界的可能操作,且在跨文化條件下穿越移動。
To develop refreshing and sustainable learning programs and all sorts of independent research projects, Moss Piglets creates alternative curriculum and pedagogy in collaboration with artists and other professionals. Our contextualized learning modules take place in diverse environments,and reflect their situated ecologies accordingly, whether in nature, a specific site or a museum exhibition. Often, in addition to the physical interactions are remote online interactions, which encourage immersive and adaptable dialogues. Such an approach would support cross-cultural mobility, with an emphasis on original habitats and border-free operations.
多維思考的課程內容作為發動性的原點,在我們越漸僵硬而狹義的同溫舒適圈裡頭打破一道道數據之牆,創造運算不出的連結與斜線。從身體政治出發的各種議題展開,我們最終關心的是跨性別、物種、文化、領地的共存方案生產,讓敘事的創造力與想像力得以奔馳,一直貫穿到現實的創造。我們所累積的各種工作坊、課程活動等,將積累轉化成為實際的文化行動,也以各色展演方案邀請更多朋友共創一個友善生態、尊重生命的未來社會。
Moss Piglets is inspired by a diverse array of curriculum and research. Drawing upon expansive knowledge allows Moss Piglets to embrace unexpected connections and alignments, which can be wielded as weapons to break our online comfort zones. Centered around body politics, our productions are concerned with co-living proposals to promote cross-gender, cross-species, and cultural interactions, interweaving new forms of communication and understanding to construct symbiotic futures. More than creative narrations, our workshops and learning programs are incubators for collective events and cultural action, to invent an eco-friendly and life-honoring future society.
創辦人
呂岱如,從事策展與寫作,背景跨足文學、藝術史、行動主義與策展學。她長期關注觀念性的策展實踐,致力於在藝術再現平台與現實場景之間,梳理另類的生產關係,建構多維觀看方式與思辨性的內省空間。諸多計畫圍繞著感知、身體、機制與回憶之間的互動與回振,其好奇心也驅使她保持探索思考人性、知識的疆界與跨域、及各種生命關懷的行動。
2015至2017年間於台北當代藝術中心擔任總監,主持策展與組織工作,她也曾任第五十五屆威尼斯雙年展平行活動《這不是一座台灣館》的策展人。她在歐亞各地策劃過多場國際展覽與工作坊,近年的策展主軸聚焦於發展共學方案與創新的藝術教育引導策略,讓專業的藝術工作者與一般觀眾能有新的介質與工具來以藝術創造真實生活。在2021年,她創辦非營利組織「緩步動物」,持續探索未來身體政治的主題。
Founder
Esther Lu is a curator and writer with a background in literature, art history, activism and curatorial studies. She is interested in formulating conceptual ways of seeing and discursive events that intertwine art and reality. Many of her projects focus on the interplay of sensibility, body, institution and memory. She is driven by the curiosity to explore human conditions, boundaries of knowing, and how art embodies and exceeds our imagination to address various concerns toward humanity, culture and the relevance of life.
Esther was the director of Taipei Contemporary Art Center from 2015 to 2017, and the curator of This is Not a Taiwan Pavilion — a collateral event at the 55th Venice Biennale in 2013. She has curated a number of international exhibitions and workshops in Asia and Europe. Her recent curatorial practice involves creating co-learning and innovative mediation strategies for professional workshops and audience experience. She founded Moss Piglets, a non-profit initiative to investigate future body politics in 2021.
彭若瑩,獨立策展人,目前駐於墨西哥城主理 Vernacular Institute 黑話機構。致力於策劃與編譯的跨度,關注表演性語彙的開放敘事,其策展取徑於實驗性思敘與觀念性實踐向度。
Jo Ying Peng is an independent curator currently based in Mexico City and runs Vernacular Institute. Working across curatorial and editorial boundaries, her practice addresses the agency of art by initiating alternative forms of production within performative settings and through experimental approaches.
王永安 Wang Yung An(台灣)
王永安映射認知神經科學知識脈絡,創作語彙遊走於劇場與視覺的多重介質,以觸覺感官先決的問題意識,推演皮膚之下內部觸感的物質動態,重新部署視覺霸權下的身體符碼、邊界和內感的生命策略,試圖平衡人與非人空間的可能。創作命題從觸覺作為一種觀看方式,進而提問─皮膚作為一種思考器官的藝術實踐企圖。
Wang Yung An focuses her research in the context of touch cognitive mechanisms, while expanding her artistic approach through performance and visual language. With an emphasis on deducing inner-material dynamics under the skin, Wang has been developing a touch score/script system to investigate biopolitics via varying body codes, boundaries and interoceptive feelings. Her work touches on the gaps between human and non-human life. Her creative propositions question the haptics of seeing, as well as how skin can act as a thinking organ.