Never mistake a wolf for a fox

This exhibition also went to UTS Gallery, and Artspace Adelaide. It featured the recent work of 12 invited Australian artists with a particular affinity with paper and continued the biennial series launched in 1995 as the Australian Paper Art Awards. Act XII celebrated diversity of practice in paper-based art and investigated notions of enactment and staging in the performing arts. Curator Lesley Harding; 'Dorothy Porter's libretto for the opera The Ghost Wife informs Mitch Lang's Serpents in My Garden, linocuts from Jazmina Cininas The Girlie Werewolf Project reflect on identity and disguise'. Cininas shows female werewolf narratives which depict the chief protagonist as super-, rather than sub-human. In the wake of climate change and globalisation, the hybrid figure of the female werewolf offers an accessible visual model for multiple viewpoints and developing an empathetic engagement with the non-human world. Prints merge lupine features with those of a woman. The title refers to both the divergent biology, and the divergent cultural associations of wolves and foxes, specifically how this is reflected in attitudes towards women. Calling a woman a wolf carries quite different associations to calling her a fox. While the woman's eyes are technically a mask, it is ambiguous whether they obscure the wolf's eyes, or whether indeed they are emerging from within the wolf, creating a hybrid figure fluctuating between woman and wolf, yet remains both. The wolf can no more remove the woman's mask than the woman can remove the wolf's snout. Also shown: 2003 Hutchins Art Prize exhibition, Hobart; International Print and Drawing Exhibition, Art and Cultural Centre, Silpakorn (03-4); Fremantle Arts Centre, Fremantle; Impressions on Paper Gallery, Canberra, 2006; PJP Centre for Australian Printmaking, 2007.本次展览亦巡展至悉尼科技大学画廊（UTS Gallery）与阿德莱德艺术空间（Artspace Adelaide）。本次展览展出来自12位受邀澳大利亚艺术家的近期新作，这些艺术家均与纸媒艺术有着深厚渊源，同时延续了1995年以“澳大利亚纸艺奖（Australian Paper Art Awards）”为起点创办的双年展系列。第十二届展览聚焦纸媒艺术创作的多元性，并探讨了表演艺术中的展演与舞台呈现理念。策展人莱斯利·哈丁（Lesley Harding）评述道：“桃乐西·波特为歌剧《幽灵妻子》（The Ghost Wife）创作的剧本，启发了米奇·朗的作品《我花园中的蛇》；雅兹米娜·奇尼纳斯（Jazmina Cininas）《少女狼人计划》（The Girlie Werewolf Project）系列的麻胶版画（linocuts），则围绕身份认同与伪装展开探讨。 雅兹米娜·奇尼纳斯在其创作的女性狼人叙事作品中，将核心主角塑造为超人类而非类人生物。在气候变化与全球化的时代背景下，女性狼人的混血形象为多元视角的呈现，以及建立与非人类世界的共情式联结，提供了易于理解的视觉范式。这些版画将狼的特征与女性特征融为一体。作品标题同时指向狼与狐在生物学层面的差异，以及二者承载的不同文化联想——尤其体现在社会对女性的态度之中。将女性比作“狼”与比作“狐”，二者的文化寓意大相径庭。尽管从技法上看，女性的眼部是一层面具，但观者无法明确其究竟是遮蔽了狼的双眼，还是从狼的躯体中生长而出，这塑造出一个在女性与狼人之间摇摆、却同时兼具二者特质的混血形象。狼无法摘下女性的面具，正如女性无法卸下狼的口鼻。 本次展览的其他巡展站点包括：2003年霍巴特哈钦斯艺术奖展览（Hutchins Art Prize exhibition）、诗纳卡宁威洛大学艺术文化中心（Silpakorn Art and Cultural Centre）国际版画与素描展（标注03-4）、弗里曼特尔弗里曼特尔艺术中心、2006年堪培拉纸印象画廊（Impressions on Paper Gallery）展览，以及2007年澳大利亚版画创作PJP中心（PJP Centre for Australian Printmaking）展览。