Revelation of Eve Clone III/II, MOCA Taipei ‘Post-humanist Desire’ (2013)

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  • 2013/11/23 – 2014/01/12
  • 2013/11/22 7:00pm Opening
  • Museum of Contemporary Art Taipei
  • Curator: Ming Turner
  • Co-Curator: Yu-Chieh Lin
  • http://www.mocataipei.org.tw/blog/post/29447252

The group of 25 artists include: Patricia Piccinini (Australia), Victoria Vesna
& Siddharth Ramakrishnan (USA), Shih-Fen Liu (Taiwan), Pey-Chwen Lin
(Taiwan), Janaina Tschpe (USA), Kevin
Ryan (UK), Anna Dumitriu (UK), Bjrk (Iceland), Zan-Lun Huang (Taiwan), Len
Makabe (Japan), Oron Catts & Ionat Zurr (Australia), Anna Munster &
Michele Barker (Australia), Martin Rieser & Andrew Hugill (UK), Daniel Lee
(Taiwan), Ritty Tacsum (Malta), Phil Sayers (UK), Ane Lan (Norway), U-Ram Choe
(Korea), Yu-Chuan Tseng (Taiwan), Saya Woolfalk (USA), Yang Na (China), Jane
Prophet (UK), Hui-Chan Kuo (Taiwan), Elizabeth King, Richard Kizu-Blair &
Peter Dodd (USA), and Jia-Hua Zhan (Taiwan).


The term “Post-human” comes from Post-human Manifesto by Steve Nichols,
published in 1988. Although the definition of “Post-human” remains undecided
within academic and artistic circles, the term has become very common in
describing the divergent and complex life expectations and identities of 21st century people.

A group of twenty-five artists have been invited to participate
and show their works in the exhibition, to help interpret the continuously
developing and noteworthy theme of the “Post-human,” under three headings: the
“cloned human,” the “transgendered human,” and the “transformed human.”

Art Works

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  • “Revelation of Eve Clone No.3”
  • Interactive installation
  • Moving image 3D Animation, Interactive Systems,Computers, Projectors, Stereo System
  • Dimensions Variable
  • 2013

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  • “Revelation of Eve Clone No.2”
  • Hologram, Spotlight
  • 67x53x4cm each, 6 Pieces
  • 2012

Pey-Chwen Lin was born in Taiwan in 1959. She obtained her doctorate degree in Creative Arts from the University of Wollongong, Australia, in 1995. She is a professor of the Department of Multimedia and Animation Arts at National Taiwan University of Arts and is currently the director of the Digital Art Laboratory. For many years, she has exhibited her work both domestically and internationally, including at the Queens Museum of Art (New York), the Media Art Biennale (Poland), the Audio Visual Art Festival (Ukraine), the Exit Art Festival (France), the Taipei Biennial, and at MOCA Shanghai. Her artistic themes originate from her experiences in and understanding of life as well as her faith. She specializes in mixing technology, digital images, and interactive methods to represent the indifference of technological civilization and the emptiness of artificial creatures.

Using wide projection screens and computer-processed images, Revelation of Eve Clone IIIpresents a unique image of Eve Clone, a technological human species that has both authority and cloning ability, along with cautionary verses from the book of Revelation in the Bible transcribed in six languages to define and foreground this post-humanist Eve created through technology. She is beautiful as well as dangerous, and she is worshipped and courted blindly.The immersive space created through projection on a large curved surface, the religious songs playing in the background, and the interactive design make Eve Clone appear charismatic. However, this work is also a criticism of people’s worship of technology, which gives unlimited potential for development but which is possibly causing the downfall of the human race and leading the world to a disastrous end as technology gains a hold on man’s selfish desires.

The work in the hallway is Revelation of Eve Clone II, which is Lin’s new series of photographs which she has developed in recent years. As opposed to a theatrical setting with wide projection and motion graphics, this series creates a one-on-one, close-up way of looking, reading, understanding and interacting through a 2D medium. In this work, the image of Eve is frozen and fixed in the photographs, confined to a flat screen and limited space. Nonetheless, as viewers gaze at the images from different angles, they are again activated and brought back to life to reveal their inner desires.

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