Posthuman Care and Intimacy in Patricia Piccinini’s Posthuman Artworks

Bibliographic Data

ID6437874
AuthorsAura Elena Schussler (0000-0001-6887-9136, Babeș-Bolyai University, corresponding author)
Year2025
Volume9
Issue1
Pages19-35
Publication date2025-09-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueJournal of Posthuman Studies (JOURNAL)
Journal identifiersISSN: 2471-4461 • E-ISSN: 2472-4513
PublisherThe Pennsylvania State University Press (PUBLISHER)
DOI10.5325/jpoststud.9.1.0019
OpenAlexW7083296801
LanguageEN
Citations received1
References cited13

Renowned for her creation of art that embraces the posthuman aesthetic, Patricia Piccinini has produced sculptures and installations that offer a glimpse into a world in which posthuman care and various forms of intimacy reveal what Amelia DeFalco calls a “relational ontology.” Piccinini’s artworks depict a paradigm shift toward a posthuman future, where biological organisms, objects, and technological artifacts intertwine fluidly, creating a complex ecosystem governed by open degrees of posthuman care and intimacy. In addition, advances in biotechnology play a crucial role in Piccinini’s perspective with regard to posthuman convergence, particularly in redefining the concepts of care and intimacy expressed through her artworks, in which genetically modified beings, monsters, and chimeras may co-exist alongside humans. To illustrate this, this article will analyze some of Piccinini’s notable posthuman works of art and exhibitions, specifically “Through Love: Patricia Piccinini and Joy Hester” (2018), “We Travel Together” (2021), and “Embracing the Future” (2021

Craft · Perspective (graphical · Posthuman · Posthumanism · earthquake and tectonic studies · Geological and Tectonic Studies in Latin America · Seismology and Earthquake Studies

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