“Making of Eve Clone” — Solo Exhibition by LIN Pey-Chwen(2017)

aaa

  • Opening|May 05,2017 (Fri) 6:00pm
  • May 05,2017 to June 02, 2017
  • Galerie Grand Siècle (No.17, Alley 51, Lane 12, Ba-de Road, Sec. 3, Taipei City, Taiwan)
  • Curator|Ming Turner

aaa

Making of Eve Clone — Solo Exhibition by LIN Pey-Chwen

About this Exhibition

International Curator: Ming Turner

In postmodern culture, the woman’s body is often utilized to present the collapse of the relationship between technology and humans. Professor Andreas Huyssen, from Columbia University in the US, considers that modern writing often links together machines and women, and the kind of ideology this represents is similar to a patriarchal fear of women. The Eve created in Lin Pey-Chwen’s Eve Clone series symbolizes Lin’s imagination and interpretation of the posthuman, specifically as a woman’s body. Eve Clone both embodies the characteristics of femininity, and a deep religious significance. Despite the fact that Lin’s work largely relies on modern technology and digital techniques, she is actually criticizing the negative impacts of technology on humankind. The cyborg body of Eve Clone also illustrates the way society succumbs to the blind worship of a beautiful body, perhaps responding to the disapproval of technology via a woman’s body in the German expressionist epic science-fiction film drama, Metropolis, created in 1926.

Lin’s new body of work, the Making of Eve Clone Series, parallels the image of Eve Clone with Leonardo da Vinci’s drawing, Vitruvian Man, in which a special texture combining both digital and manual drawing has been created. Through the constant changing and revolving images of Eve Clone and da Vinci’s drawing, this piece symbolizes the concepts of androgyny. In this exhibition, Lin also exhibits several images which juxtapose the bodies of Eve Clone and Vitruvian Man, including their heads, torsos, and hands. These images are presented vertically and in parallel, with da Vinci’s images forming the background at the top and Lin’s images in the background at the bottom. In this series, Lin presents the images of her imagined Eve Clone through manual drawings combined with the structures of a human body created via 3DMaya, and with different textures of metals, Eve Clone looks as if she is having an interdisciplinary dialogue across space and time with da Vinci’s drawing.

Exhibition Concept

Starting from 2006, I develop “human-pupa” from my previous work─ the female figure of Cultivation and the butterfly image from interactive installation Virtual Creation, and gradually transform into “human-butterfly” form. Then the ultimate interactive installation Eve Clone II is close to the shape of “human female body”. Human intentionally duplicate an “ideal woman” in their conceit and challenge God’s original creation, if, by their advanced technology. So it is named Eve Clone.

In 2010, I mark “666” on Eve Clone’s forehead and right hand—the mark of beast in Bible Book of Revelations, which to emphasize the dangerous beastliness in it. Further, I create a series of Portrait of Eve Clone by moving hologram. When audiences watch the portrait, they will be amazed by its eyes and postures movement following themselves, and it stays still when audiences are motionless. It criticizes that human create beautiful and alluring technology creations. Otherwise, human could be allured and controlled by their creations.

To show humans’ worship to Eve Clone, I duplicate its head by 3D printing and employ interactive designs that allow rows of Eve Clone to raise its head and dance when the audiences touch the “666 Mark of the Beast” on its golden-head, a metaphorical movement of intercourse and branding. Also, when the audiences take their hands off it, Eve Clone would return to its original state, with its head hung low. These designs enable me to interpret the vitality of Eve Clone and Eve Clone’s intimate relationship with human beings in multiple ways.

In 2016, inspired by the ending of “Whore of Babylon” and “Great Image” from Bible, I create two works to forecast the ultimate destiny of Eve Clone. One is a 3D animation named Great Babylon, Eve Clone, who stood on the top of the Empire State Building in New York City and seemed to take control of the whole world, is eventually burn out by God’s fire; another one named Revelation of Eve Clone IV shows the ending of “Great Image”, which was shattered by God.

I start creating Making of Eve Clone since the end of 2016, and showcase my completed project in my solo exhibition at Galerie Grand Siècle during May 2017. It will be presenting by 3D animation and documentations include a video Making of Eve Clone I, six documents of Making of Eve Clone Documentation II, and sixteen documents of Making of Eve Clone Documentation I. These works, combined with Leonardo Da Vinci’s manuscript, serve the purpose to detail my creation process and represent the very essence of human desire.

The series Making of Eve Clone I has appropriated the script of Leonardo da Vinci’s Vitruvian Man for the formation process of Eve Clone’s physicality. To represent in retrospection the phases in 3D modeling of Eve Clone, that 3D Maya software turns the original line drafts into an entity of human grid with varied shading and mapping, simulated human skin color, metallic color, holographic green light, and gold-headed idol. Such steps in revolving are demonstrated in a chronological order to give prominence to the progressive changes. The body forming techniques are shown through a 360-degree rotation, from line sketch, grid computing, skeleton model-building, application of texture, pattern carving to posture adjustment……; indeed Eve Clone is a digital product cooperated by software, hardware and human desire. Such desire is also employed by scientist or the like-minded inclined to transform, imitate, and challenge the God rules by evolving the experimentation of technology.

I appropriated the golden ratio from Leonardo Da Vinci’s manuscript as the perfect ratio for Eve Clone while Leonardo Da Vinci’s intense desire of creating and prodigious ambition were transcribed on the generative progression of Eve Clone, in correspondence to Leonardo Da Vinci’s bold actions, dissecting human body to acquire the knowledge of human proportion, muscle, blood vessels, and bones (dissecting gory human body not only were proximately against the religious morality in human sacred body as God’s creation at that time but shed light on his characteristics not merely of a painter but of a gifted rational, scientific spirit.) Leonardo Da Vinci’s action of writing and sketching human body proportion and figure left clues of a humanistic value in humans as the ruler of the cosmos, such opposition to Bible could be told from many of his paintings. The very essence of Eve Clone is to criticize the self-centered confidence in challenging the God’s creation through the rendering of discussion of the association, contrast and the paired correlation between art and technology. In the video, I inserted the statement of Making of Eve Clone in the mirror writing from Leonardo da Vinci along with my signature below the body as a symbolic code.

The origin of Making of Eve Clone Documentation II is from the animation Making of Eve Clone I. I select three parts of Eve Clone’s grid body and of Leonardo Da Vinci’s manuscript, such as gold head with silver breast, silver breast with coppery belly, iron leg with half-iron half-clay feet; in order to emphasizing the features of “Great Image”. Then I add computing line sketch, grid, icon, camera, controller, and create six digital printings with original sketch color and the opposite color (white line on black base). Last, I add my hand-writing annotation to portrait the essence of “Great Image.”

For Making of Eve Clone Documentation I series, I overlap both head and hand part of Leonardo Da Vinci’s manuscript with the line sketch and grid of Eve Clone’s head and hand part in order to accentuating the golden ratio of Eve Clone. Although Leonardo Da Vinci’s manuscript use male as model, the face ratio of Eve Clone is still highly similar with his manuscript keeping signs of computer software which I design that in purpose as contrast of digital file and manuscript document. In the last print of both head and hand, the upper document shows the metallic-colored forming head and right hand with “666 Mark of the Beast” of Eve Clone, and the lower part shows the chapter Daniel and Revelations of Bible in the mirror writing from Leonardo da Vinci. The final touch is AR techniques that transform Eve Clone from a static print into dynamic video to simulate a vivid Eve Clone interacting with audiences in real world.

I aim at recreating my workshop in the exhibit space while I represent the evolution steps and documents of Eve Clone in order to making a review of the series works for audiences, for instance, my documentary films recording the generative narration and every series of works of Eve Clone, and the generative content shows the great effort of me and my lab members like sketch, digital print, chapter of Bible, the “666 Mark of the Beast”, and three-dimensional model. I wish audiences can largely understand my concept, medium, and skill of Eve Clone while they see my solo exhibition Making of Eve Clone. No matter by image, sculpture, films, Interactive Installations, every means I use is for completely forming the artificial life evolution of Eve Clone: the course from the dangerous bestial image to the worship of great image, which is reflection and hint for human being’s ending after reaching the extremely expanded scientific and technological civilization.

Albums

Video

aaa

  • 開幕時間|2017年05月05日(五) 6:00pm
  • 展覽期間|2017年05月05日 – 06月02日
  • 展覽地點|新苑藝術 (台北市松山區八德路三段12巷51弄17號)
  • 策展人 陳明惠

aaa

夏娃克隆創造計畫 林珮淳個展

關於本展覽

國際策展人/ 陳明惠

在後現代文化中,女性的身體常被用來表現科技與人性的關係崩解。美國哥倫比亞比較文學教授安德魯.胡森(Andreas Huyssen)也認為現代書寫經常將機器與女人並置,並呈現對於科技過度發展的恐懼,這樣的心理與父權思想畏懼女人是一致的。林珮淳的《夏娃克隆》系列所創作出的夏娃克隆是象徵林珮淳對於後人類(尤其是女體)的想像與詮釋。夏娃克隆不僅呈現女性特質,更帶有宗教的象徵,儘管林珮淳的作品仰賴大量科技、數位技術而創造出來,藝術家其實反諷、批評科技帶給人們社會負面的影響。夏娃克隆的賽伯格化身體,同時呈現林珮淳批判對於美麗女體盲目崇拜的意涵,這便呼應1926年德國表現主義科幻默片《大都會》影片中以女體做為諷刺科技的負面象徵。

2016-2017年林珮淳新作《夏娃克隆創造計畫》結合夏娃克隆及達文西手繪的男性人體素描及手稿,創造出一種結合數位感及手繪稿之特殊質感,並且透過夏娃克隆與達文西的男體素描稿不斷地交互自轉,作品亦呼應雌雄同體的概念。在此展覽中,林珮淳亦展出數件夏娃克隆與達文西對照的頭部與身體被創造過程的對照圖,包含頭部、身體、手部。這些圖像以上下對照的方式,上方背景是達文西的手繪稿,下方是林珮淳所創作的夏娃克隆,從林珮淳所發想的手繪線條,到由3DMaya軟體建構的人形網格,再配以不同的金屬感肌膚,透過上下對照達文西約1490年所繪製的人形手稿,與林珮淳於2016年透過電腦所創作的夏娃克隆,進行一種跨時空、。跨媒材、跨場域的結合與對話。

展覽理念

自2006年開始,我從《溫室培育》的「女體」影像與《創造的虛擬》互動裝置的「蝴蝶」影像,發展出「人蛹合體」逐漸形變成「人蝶合體」到近似人「女體」影像的《夏娃克隆II》互動裝置,將之命名為「夏娃克隆」乃因「克隆」就是英文的「複製人」,而神創第一個女人「夏娃」,人類則想以科技挑戰神的「原創」,企圖複製另一個自認為的「理想的女人」。

2010年我更將聖經《啟示錄》記載的「獸印666」加於「夏娃克隆」的額頭與右手上來表現它的危險獸性,並以「動態全像」媒材創造了一系列的《夏娃克隆肖像》。當觀眾左右移動觀看時,會驚訝發現「夏娃克隆肖像」的姿態與眼睛正隨之移動與凝視觀眾,但當觀眾靜止不動時它也就不動,反諷人類所創造的「科技產物」雖美麗誘人,但也可以反過來誘惑與控制人類。

之後的系列《夏娃克隆啟示錄》,我更以聖經《啟示錄》記載的「巴比倫大淫婦」與《但以理書》的「大偶像」來形塑之,將相關的聖經章節以六種古今代表政治、文化的語言隨機出現在作品底部,來定義「夏娃克隆」的身份與特質。身體的色調則以《但以理書》形容的「大偶像」來表現:金頭、銀身、銅腹、鐵腿、半鐵半泥腳。另外,為了強調其人工生命與複製性,以電腦時間碼(time code)來敘述它可與人類同時間活在當下;以電腦程式的「延遲再複製」特性投影出整齊排列的「夏娃克隆」,投影空間愈大數量就愈多。又為了表現人類對它的崇拜,特別以3D列印複製了它的頭部。觀眾可伸手觸摸金頭上的「獸印666」時,除了喻表與它交媾與被烙印外,整排「夏娃克隆」影像會一隻隻抬頭舞蹈,表現它因著人類的崇拜更具加活潑,又當觀眾將手移開後,「夏娃克隆」影像又會恢復原來低頭的狀態。這是多層次的詮釋「夏娃克隆」的生命力以及與人類的密切關係性。2016年我將聖經記載的「巴比倫大淫婦」與「大偶像」之結局來預告「夏娃克隆」之終極命運,如《大巴比倫城》以3D動畫影片表現它站在紐約帝國大廈之頂控制全世界的意象,但至終被神以天火燒掉。另一件《夏娃克隆啟示錄IV》則表現「大偶像」終究被神打碎。

2016年底就開始了《夏娃克隆創造計畫》系列的創作,於2017年5月在新苑藝術的個展中則完整呈現整個創造計畫,作品包含以3D動態影像以及文件形式,如《夏娃克隆創造計畫l》影片;六件的《夏娃克隆創造文件ll》系列,以及十六件的《夏娃克隆創造文件l》,將多年來如何創造「夏娃克隆」的過程與達文西的手稿結合,企圖再現人類慾望的本質。

在《夏娃克隆創造計畫l》中系列乃挪用達文西「維特魯威人」(Vitruvian Man)的手稿與我「夏娃克隆」全身每一個發展的過程作結合,回朔再現「夏娃克隆」如何被我以電腦3D創造的過程與每一時期的形體,從我發想繪製的線稿,到進如電腦以3DMaya軟體建構的人形網格,到逐步貼圖、仿人的膚色、仿金屬色、仿全像的綠光色、仿金頭大偶像,以360度自轉而展現每一階段的形變, 並且把在電腦空間以電腦鏡頭旋轉身體每一角去呈現「夏娃克隆」如何被形塑的過程,從單線構圖、建網格、建骨架、貼材質、刻紋路到調動作的過程⋯⋯,的確可表現它是如何因著人類的創造慾望逐步被建構成為科技軟、硬體的數位產物,此慾望我認為與科學家或人類企圖改造、模仿、戰所有神原創的科技文明從發想到一步步的實驗(實踐)的過程很類似。之後我又挪用達文西手稿對人體黃金比例之研究,除了指出「夏娃克隆」的完美比例外,更將達文西強烈創作慾望與驚人的企圖心轉譯在「夏娃克隆」被生產之創造過程上,因達文西解剖人體、解析人體比例、肌肉、血脈、骨頭⋯⋯之大膽行為(當年教徒應被教導身體是神創造的神聖身體,但達文西顯然不以為然,他大量解剖仍未乾且血淋淋的屍體的確非一般的畫家,而是具理性分析人體的科學研究精神之鬼才。)他的素描手稿除了記錄人體比例、形體外,其實也暗示人類是宇宙天地之掌握者(以人為本)之思想,難怪他許多的畫作暗藏抵擋聖經真理的密秘,而我「夏娃克隆」即批判人類以己為中心挑戰神原創之本質。因此,我挪用達文西的手稿與我創造「夏娃克隆」過程檔案結合,不但巧妙揭示達文西以藝術家探究人體的慾望其實與科學家挑戰神原創的企圖心相似,也將人類慾望底層的企圖心再現於「夏娃克隆」的形象中,藉此討論了藝術與科技之間的聯想、對照與互文的關係。影片中我巧妙的將我夏娃克隆的創造計劃文字內容用「達文西鏡像字體」置於人體下方並簽上我名字當成一種密碼。

在《夏娃克隆創造文件ll》系列則是將《夏娃克隆創造計畫l》影片的達文西手稿與「夏娃克隆」電腦網格身體截取三部份,如金頭與銀胸;銀胸與銅腹;鐵腿與半鐵半泥腳部來強調「大偶像」,也放入電腦軟體繪製的線條、網格、icon、攝影機、控制器等符號,以草稿原色與黑白反差作六張的數位輸出,再加入我個人的手寫註釋來描述「大偶像」的本質。

在《夏娃克隆創造文件l》系列則以「夏娃克隆」3D檔案發展的頭部與手部線條、網格、貼圖等與達文西的頭部與手部手稿結合,表現「夏娃克隆」有如達文西手稿中的人體黃金比例標準。雖然達文西的手稿是描繪男性的臉部,但與「夏娃克隆」臉部比例幾乎相似,作品也刻意保留電腦軟體繪製的線條、網格、icon、攝影機、控制器等符號,表現手稿文件與數位檔案兩者間的互文與對照觀念。在頭部與手部的最後一張,在文件的上半部表現「夏娃克隆」的頭部與右手已經成形,並特別強調金屬色澤與「666獸印」,而文件的下半部則以達文西鏡像字體寫出的聖經《但以理書》與《啟示錄》的相關章節。最後,利用「擴增實境」(AR)技術,將「夏娃克隆」的頭部與右手從靜態版畫轉換成動態影像,彷彿「夏娃克隆」真的從平面走到現實空間與觀眾對話。以AR互動技術來表達「夏娃克隆」就如各種科技產物存在人類的生活週遭𥚃,因當觀眾拿起「擴增實境」(AR)對著「夏娃克隆」的頭部與手部平面文件時,會驚訝發現平面的頭部與手部在AR螢幕內居然動了起來,如「夏娃克隆」的頭部從仰睡逐漸抬頭睜開眼睛且左右轉頭,而手部也以6字形的誘人手姿作擺動,喻指「夏娃克隆」其實就與人類同空間與時間活著。此AR技術巧妙成了詮釋此觀念最佳的媒介,藉由科技媒材再現科技的無所不在,表達「666」獸印早就出現在人類的生活中了。

在展覽現場我企圖再現我的「工作室」,將「夏娃克隆」每一階段的演化過程與文件再現,以利觀眾作前後系列作品的對照與回顧,如播放我敘述創造「夏娃克隆」記錄影片與每一系列作品影片,也以草圖、圖像列印、聖經章節文字、666符號、立體造型等,展現我與我實驗室團體成員龐大的製作內容與心血,使得觀眾們看到此次「夏娃克隆創造計畫」個展時,更能明白我創造「夏娃克隆」的觀念、媒材與技術,不管是以圖片、雕塑、影片或互動裝置等形式來創造與展現之,都為了完整形塑「夏娃克隆」的人工生命演化;過程,到具有危險獸性的形象,到最後成為被崇拜的大偶像,以反思人類極至發展科技文明的結局。

Albums

Video

Bookmark the permalink.