PTT Space 很榮幸地呈現藝術家娣陽・貝克（Tiyan Baker）在東亞的首次個展：「娣陽・貝克：噬母」（Tiyan Baker: Matriphagy）。藝術家貝克長期探索著原住民（性）的科技政治和傳統知識體系，並以此為基礎創作出近期最新的動態影像、攝影和裝置作品。貝克的作品已在澳洲和東南亞的許多機構進行展出，本次展覽則標誌著這位亞太地區的藝術新星在畫廊的首次亮相。

「噬母」（Matriphagy）是指某些生物吞噬自身母體的現象，象徵著極致犧牲的姿態；母體甘願成為其後代生存所需的養分來源——透過母體的死亡，生命得以萌生。「噬母」這個概念同時延伸為一種隱喻——儘管殖民及帝國政權的知識體系及政治暴力不斷迫近，原住民的文化知識和宇宙觀卻透過母系和母系社會的抵抗實踐而得以傳承下來。我們也可以透過這個概念，進而理解在作為婆羅洲比達友族原住民女性與澳洲原住民領地定居者的雙重身份下，藝術家娣陽・貝克如何進行自身的權衡，並且認識那些深嵌於她與土地、生命和語言的每一種關係形式之中，自我認同與社會模式二者之間無可迴避的衝突。

PTT Space is delighted to present Tiyan Baker: Matriphagy, the artist's first solo exhibition in East Asia. Featuring new and recent moving image, photography, and installation works that draw on Baker's long-term investigations into the techno-politics of indigen(eit)y and traditional knowledge systems, this presentation marks the gallery debut of a rising star in the Asia Pacific whose works have been shown extensively in Australian and Southeast Asian institutions.

A form of matricidal cannibalism that is found in certain animal species, the phenomenon of matriphagy represents a gesture of ultimate sacrifice that sees the maternal body becoming a willing source of nutrients for the survival of her offspring—through her death, life emerges. As an extended metaphor for how indigenous cultural knowledges and cosmologies are passed down through matrilineal and matrisocial practices of resistance despite the looming forces of epistemic and political violence from colonial and imperial regimes, the concept of matriphagy is also a useful heuristics for understanding how Baker triangulates her own negotiation of her heritage as both an indigenous Bidayǔh woman of Borneo and a settler on the lands of Aboriginal Country, and the inevitable contestations between colliding schemas of identity and society, embedded within each forms of relation to land, life, and language.