Research Solo Exhibition by Pey-Chwen Lin ‘REVELATION ‧ NOTIFICATION’, National Tsing Hua University Arts Center, Taiwan (2015)

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啟示與警世一林珮淳創作研究展

文/賴小秋
思辯自決.意識鮮明
清大藝中聚焦於完整呈現藝術家林珮淳三十年來戮力於藝術領域上的創作經典系列與啟悟,審視藝術家的創作經歷、典藏、論述、出版等等研究,奧圖碼科技股份有限公司與藝數網公司不約而同地贊助此展,水到渠成以尖端科技完整呈現所有的科技藝術作品,詳究其由美國中央密蘇里大學踏入抽象藝術創作的開始,窩居於二號公寓藝術生命青澀歲月的最初源頭,澳洲攻讀博士時接受女性主義的啟蒙與洗禮,持續催化出爾後多元豐富的藝術發想與創作系列,林珮淳不斷審視自我藝術創作,思辯創作行為與女性自決的鮮明意識,交接撞擊觀眾當下的意識流動,形塑新穎的藝術觀感,展覽現場完整呈現林珮淳生平大記事與四大藝術創作系列樹狀創作,研究年表與文獻係由係由臺藝大造形所許佩純研究整理,臺藝大多媒體動畫新媒體藝術學系研究生蔡佩宜編排。
林珮淳現任教於國立台灣藝術大學新媒體藝術所,長期推動台灣數位藝術並創建此領域重要的實驗室:林珮淳數位藝術實驗室,近期策劃的《蟲聲幻影》數位藝術互動特展,完美結合科學與藝術更引起巨大關注與回響。而其自身的藝術創作脈絡能駕馭大環境整體的社會文化,並反思文明科技所引領的毀滅力量,諷刺批判人類的貪婪妄想,因其作品的深沉理念與爆發力,作品也成為全球藝界焦點。

生命課題.永恆不變
「啟示與警世一林珮淳創作研究展」呈現藝術家藝術精神本質的實踐歷程,作品含括「女性詮釋系列」、「解構父權系列」、「回歸大自然系列」與「夏娃克隆系列」。藝術家負笈異鄉時意識到東方女性長期在父權體系下依附生存,強烈質疑刻板僵化的社會體制下狹隘的創作空間,她體悟需擺脫僵化體制的桎梏,女性創作風格才能獨立自主,藝術革新精神方能植根,「相對說畫系列」與「經典系列」的批判表現手法含蓄婉約,卻遠凌駕於西方女性主義創作者赤裸的呈現,彷彿長期壓制下的吶喊發聲。「回歸大自然系列」的人工自然散發光能與熱量,警示人們現代文明彷彿披著羊皮顯現炫爛華麗,卻只能祭弔逐步被吞噬的真實自然世界。本展展出此系列的《創造的虛擬》與《標本I》,《創造的虛擬》由觀眾動手書畫蝴蝶,激發無限的生命力,蝴蝶翩然交織起舞,林珮淳批判人造景觀與生命的謬誤本質,企圖使觀者比較短暫虛幻的人工生命與真實靈動的自然生命,觀者自行醒悟生命課題:究竟何者是永恆不變。 《標本I》系列作品哀悼人類暴殄天物的習性,自然原始的質樸意象畢竟無法以人工再現,反諷蝴蝶標本也是虛擬標本,幻影雖然生動美麗卻仍是3D科技合體。

夏娃克隆.眾所矚目
「女性詮釋系列」、「解構父權系列」、「回歸大自然系列」中的象徵符號“蛹”蛻變成蝶女,幻化成「夏娃克隆系列」科技複製之女子,基因複製人夏娃克隆具備維納斯般的完美身型,烙印著毀滅印記,借由科技的催化在展場中甦醒,破繭而出,優雅地轉動身軀,感受四方投注的關懷眼神、引領期盼、與慾望交融,虔誠聖樂營造聖殿般的臨場感知,仔細聆聽卻間有雜音,反諷科技造物的人類,企圖模擬自渾沌之初以來開天闢地的創造主,畫虎不成反類犬,似人非人,似蝶非蝶,科技造物野心十足卻引發毀滅性的力量,隱喻人類社會氾濫的利益薰心、色慾橫流、破壞自然、窮兵黷武均步步踱向啟示錄所預言的末世危機。
「夏娃克隆系列」是眾所矚目的焦點,本展展出此系列的《夏娃克隆II》、《夏娃克隆啟示錄II》、《夏娃克隆肖像》、《夏娃克隆啟示錄III》具有其獨特的藝術風格,婉約卻精準犀利,批判複製基因改造或複製人體的尖端科技,深思人類窮究生命源起的秘密是否倒行逆施?質疑人工生命的虛幻與毀滅力量,此展真實讓人感受林珮淳關懷生命,體悟生命,敬天愛人與個人的虔誠信仰。
近期全球研究夏娃克隆的論述風起雲湧,即將出版的藝術年鑑登錄其為台灣最具代表性與重要的作品之一,林珮淳廣受當代重要藝術機構與巨型展覽邀約,曾展於蘇俄當代藝術平台、紐約皇后美術館、法國Exit and Via藝術節、當代美術館後人類國際展、波蘭媒體雙年展、國美館台灣雙年展、高雄市立美館亞洲當代女性展等。「夏娃克隆系列」也成全球藝文界爭相邀請展出的國際經典創作,全球女性博物館IGNITE專訪藝術家林珮淳並將影片列於首頁,世界知名英國女性藝術研究期刊以全彩介紹,澳洲AGIDEA專題演講以及受邀美國學術研究大學作品授權研究等。

體悟生命.敬天愛人
林珮淳指出創造的靈感源於錫安山列國先知洪以利亞對人類的警世預言,也無畏怯地將聖經《啟示錄》與《但以理書》所記載的巴比倫大淫婦與大偶像來形塑「夏娃克隆」,藉以批判科技改造神的原創將帶給人類無法逃避的可怕大災難。有位藝術評論家曾口試一篇研究林珮淳創作的論文時指出:「要研究林珮淳的作品必須要研究錫安山。」道出了林珮淳創作乃源於她對生命的領悟以及她對創造主的無限敬畏。美國史丹佛大學及捷克查理士大學客座教授林麗真教授也指出:「林珮淳是一位敬畏神的聰明人,因此所揭舉的藝術思維課題,已觸及哲學和宗教的領域而引起國際藝術界的重視。她的藝術成就自不僅限於一時一地。」足見林珮淳創作態度超然傳達其解讀現代生活與文化的深沈認知與見解,科技系列藝術作品在在揭示逆向反思,並隱含啟示錄警世自然反噬的巨大力量,可說是一路走來、一以貫之,以虔誠的信仰與毅力追求富含哲思義理的藝術境界與極致表現。
(賴小秋撰於2015年初夏時分)

官方網站:
http://artscenter.web.nthu.edu.tw/files/14-1898-82439,r11-1.php

展覽地點  
國立清華大學藝術中心
新竹市光復路二段101號.清大綜二館

展覽日期與時間  
2015.5.25(Mon.) ~ 2015.6.17(Wed.)
星期一~五 12:00-19:00、週六&週日 12:00-17:00

茶會&記者會 Opening 》2015.5.25 (Mon.) 10:30/ 藝文中心
面對面演講 Face to Face 》2015.5.22 (Fri.) 10:15/ 合勤廳

主辦單位/國立清華大學藝術中心
贊助單位/琉璃奧圖碼科技股份有限公司、藝數網

Art Works

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  • Great Babylon
  • 3D Animation、Digital Sound、Monitor
  • 04’07
  • 2015

“Great Babylon” is the new series following the final edition of my “Eve Clone” series.  In the “Eve Clone” series, the Biblical prophecy of the Mark of the Beast, 666, and the Whore of Babylon are created through virtual 3D images to serve as a metaphor for the worship of technology and civilization by humankind – challenging the original creation of God, transforming nature, and even cloning life. I now attempt to place “Eve Clone” into the real world to remind humankind that the phenomenon of “Eve Clone” has already existed in daily life. If humankind continues to oppose God’s will by placing itself higher than Him, there will be no way to avoid the great tribulation as written in the Revelation chapter of Bible.

In “Great Babylon”, the “Eve Clone” stands prominently on the top of the Empire State Building in New York City. A bird’s-eye view shows the high density of the buildings and streets, as well as emphasizes it is the center where humans busily pursue politics, economics, culture, technology, religion, education, art, and other activities. The “Eve Clone” also serves as a symbol for the desires of humankind and the idols that it has chosen to worship. As a result, the “Eve Clone” opens up both hands in a prideful stance as she governs this great city. The film camera revolves around the “Eve Clone”, switching from a parallel to a bird’s eye view of the whole city. However, God watches it and the city from above, and finally sets fire to this Great Whore of Babylon.  The smoke surrounding it rises up until all physical form has been destroyed.

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  • Revelation of Eve Clone IV
  • Moving image 3D Animation, Digital Sound
  • 08:01
  • 2014

Humanity now opposes the laws of nature and tries to change God’s creation through the development of a technological civilization, including such actions as manipulating nature and employing cloning technology to create artificial life. Although technology brings convenience and enjoyment it may tempt humanity to go down a road of no return. Nature has encountered unrestrained destruction and humanity is facing a series of irreversible disasters through climate change, use of nuclear technology, chemicals in the environment, GM foods, cloning, electromagnetic radiation and computer chips. In order to counter these phenomena, I have used 3D animation to create a hybrid female human, which represents the enticing yet deadly products of scientific experiments. I have named this creature “Eve Clone”: Because God created Eve, humans want to clone Eve.

The “great image” in the Bible inspired me to create “Eve Clone”, which symbolizes the authority and glory of the technology that humans are worshipping.The image’s head was of fine gold, its chest and arms of silver, its belly and thighs of bronze, its legs of iron, its feet partly of iron and partly of clay. (Daniel 2:31-33). I have also marked “666″ on Eve Clone’s forehead and right hand—the sign of the beast in the Bible’s Book of Revelations, which symbolizes her control of humanity. (Revelation 13:16-18)

In the video “Eve Clone” is submerged in the sea amidst ruins, the water is stained red as the blood of a corpse (Revelation 16:2-4). Although she escapes from the water, she is ultimately broken to pieces by a stone, becoming like the chaff of the summer threshing floors; and the wind carried them away, that no place was found for them. (Daniel 2:34-35)

In the end, the video will show the stone that destroys the image becomes a great mountain. The musical soundtrack is a hymn to represent that the kingdoms of this world become the kingdoms of our Lord, and of his Christ: and he shall reign forever and ever.( Revelation 11:15)The way that the “great image” symbolizes the authority and glory of technology, should remind people that the technological civilization they worship will ultimately be crushed by God.

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  • Revelation of Eve Clone III
  • Interactive installation
  • Moving image 3D Animation, Interactive Systems, Computers, Projectors, Stereo System
  • Dimensions Variable
  • 2013

The Eve Clone Series stands as a critique of mankind’s use of technology to challenge the original creations of the Creator. Can people really entrust their survival to an artificial nature and life? Though faced with the phenomena of El Nino, global warming, melting ice caps, chemical spills, earthquakes, landslides, volcano eruptions, nuclear disasters, overpopulation, rampant consumerism, mutations, and others, mankind continues to push the frontiers of technology and the science of genetics to alter nature and life. What will the eventual fate of humanity be? That is the crucial issue in “Eve Clone” series I try to question.

I use the name, Eve Clone, to refer to mankind’s use of technology to subvert the creations of God. Using genetic cloning techniques to create life is akin to mimicking God’s creation of Eve. Yet, what will life created under such a pretext of hubris and desire look like? To portray Eve Clone as a virtual but attractive life form, I use digital media of 3D animation, dynamic hologram, and interactive systems to create a virtual and seductive woman that interacts with viewers in front of artworks. 3D animation is particularly useful in creating bizarre images of humanoid pupae and creatures whose necks and spines have pupa- or beast-like skin and bone textures. The image of this woman’s body is shaped like the Venus, and stands as a metaphor for the ideal woman (her creation adheres to the patriarchal standards inherent in the field of technology). Also, I draw from the Bible’s Book of Revelation for inspiration. For example, the Mark of the Beast, 666, is seared onto the forehead and hands of the Eve Clone, forming parallels between mankind’s reliance on technology and being marked with Mark of the Beast, a devilish number (e.g. modern people are already held hostage by serial codes, product codes, bank accounts, ID numbers, and computer passwords). This is exactly what the Book of Revelation had prophesized: ”He causes all, the small and the great, the rich and the poor, and the free and the slave, to be given marks on their right hands, or on their foreheads; (Revelation 13:16) and that no one would be able to buy or to sell, unless he has that mark, the name of the beast or the number of his name. (Revelation 13:17) Here is wisdom. He who has understanding, let him calculate the number of the beast, for it is the number of a man. His number is six hundred sixty-six. (Revelation 13: 18)”

Using wide projection screens and computer-processed images, Revelation of Eve Clone III presents 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.

Following are the texts of the Book of Revelation applied in the work:
He causes all, the small and the great, the rich and the poor, and the free and the slave, to be given marks on their right hands, or on their foreheads; (Revelation 13:16)

and that no one would be able to buy or to sell, unless he has that mark, the name of the beast or the number of his name. (Revelation 13:17)
Here is wisdom. He who has understanding, let him calculate the number of the beast, for it is the number of a man. His number is six hundred sixty-six. (Revelation 13: 18)
One of the seven angels who had the seven bowls came and spoke with me, saying, “Come here. I will show you the judgment of the great prostitute who sits on many waters, (Revelation 17:1)
with whom the kings of the earth committed sexual immorality, and those who dwell in the earth were made drunken with the wine of her sexual immorality.” (Revelation 17:2)
And on her forehead a name was written, “MYSTERY, BABYLON THE GREAT, THE MOTHER OF THE PROSTITUTES AND OF THE ABOMINATIONS OF THE EARTH.” (Revelation 17:5)
He said to me, “The waters which you saw, where the prostitute sits, are peoples, multitudes, nations, and languages. (Revelation 17:15)
The woman whom you saw is the great city, which reigns over the kings of the earth.” (Revelation 17:18)
For all the nations have drunk of the wine of the wrath of her sexual immorality, the kings of the earth committed sexual immorality with her, and the merchants of the earth grew rich from the abundance of her luxury.” (Revelation 18:3)

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  • Revelation of Eve Clone II
  • Hologram, Spotlight
  • 67x53x4cm each, 6 Pieces
  • 2012

The work in the hallway is Revelation of Eve Clone II, which is Lin’s new series of holograms 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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  • Portrait of Eve Clone
  • 3D Hologram, Acrylic Frame, Spotlight
  • 46cm x 57.5cm x 4cm x 16 pieces
  • 2010

In the series of ‘Portrait of Eve Clone’, the facial images of human-cocoon and human-beast are created by 3D animation. In the forehead there are beast number ‘666’ in Chinese, English, Arabic, Egyptian, etc. As the Revelation depicts, He causes all, the small and the great, the rich and the poor, and the free and the slave, to be given marks on their right hands, or on their foreheads; (Revelation 13:16). Through the high-tech hologram and black acrylic frame, the gesture and the gaze of Eve Clone are shown at various angles. When a viewer looks at the portrait to his left or right, he will, surprisingly, find her gaze back at him. Behind the beautiful look lurks a crisis of temptation.
It is to symbolize that the attractive technology created by human beings turns out to be a counterattack on human beings themselves. This work gives us introspection, that human beings challenge God’s originality with technology, and will eventually face the fate of being manipulated by technology.

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  • Eve Clone II
  • 3D Animation、Interactive System、Yiisu
  • 2006

The artist creates a 3D image to show a chrysalis transforms gradually into a woman in the water with lots of bubbles. It was named “Eve Clone”. When the audiences come in front of the work, their images will be captured by webcam and shown inside the bubble real time. The more the bubbles are captured the more evolutionally “Eve Clone” will be. On the contrary, “Eve Clone” degenerates if the bubbles are decreased.

It is the concept to criticize the clone that human created, though it appears vividly, however it is fragile and it finds hard to survive independently. They might appear in any space to multiply and evolve, however it might also degenerate and turn back into the most primitive artificial cell due to the deficiency of nutrients.

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  • Virtual Creation
  • Large Projection Installation, Computer Touch Screen, Interactive System, Computer,3D Animation
  • According to the space
  • 2006

This work satirizes mankind’s obsession to use technology, such as computer software, biotechnology, virtual reality, genetic modification, cloning technology, and artificial life, etc., to play the role of the creator, thinking that they can use technology to replace nature.

Therefore, the author has created an installation for the audience to play as the creator. Using computer programs, a computer touch screen, and interactive systems to generate real-time and interactive images, the audience can participate in the process of creating butterflies. When the audience walks into the exhibition space, they immediately notice an image of a massive aquarium. There are all kinds of butterflies and sounds in the deep ocean. The audience will feel as if they’ve entered a virtual world. Right in front of the surreal ocean scene, there is a touch screen podium for the audience to interact with the piece. They can draw butterflies and watch their creation flutter in the screen above. It allows them to experience the grandeur of being a creator, even if it’s only virtually. The author uses virtual technology (interactive systems, computer programs, animated images) to mock the desire to create and the sense of satisfaction that technology brings to mankind.

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  • Specimens I
  • 3D Animation, Lenpicular Lens, LED
  • According to the space
  • 2006

After catching butterflies, people want to preserve these beautiful creatures as screens and used cold light lamps to create digital butterfly specimens. The butterflies aren’t real; instead, they are dynamic 3D images combined with lenticular sheets.
In addition, each specimen is numbered as if it were an experimental subject.
It can be copied and stored, or even become an object of nostalgia for people to mourn and appreciate.
This series of work re-emphasizes the importance of cherishing nature right now, or suffer the consequences when it will only be possible to admire and mourn for the reality we once had, and accept that any replacement, no matter how vivid or beautiful, is merely an illusion and product of technology.

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