林珮淳 /吳季璁 / 黃贊倫 / 黃致傑 / 陳依純 /張徐展
展期: 2015.09.26 (六) ~ 2015. 11.15 (日)
開幕:2015.09.25 (五) 下午2點
The Homecoming Exhibition from WRO Media Art Biennale 2013 "The Apocalyptic Sensibility: The New Media Art from Taiwan"
Curator: Yunnia Yang
Lin Pey-Chwen/ Wu Chi-Tsung/ Huang Zan-Lun/ Scottie Chih-Chieh Huang/ Chen I-Chun/ Zhang Xu-Zhan
Exhibition Period: 2015.09.26 (Sat.) ~ 2015. 11.15 (Sun.)
Exhibition Venue: Taipei Fine Art Museum E Gallery(B1)
Vernissage:2015.09.25 (Fri.) 2 pm
To celebrate the 50th anniversary of the birth of electronic art, the 15th WRO Media Art Biennale takes ‘Pioneering Values’ as the focal theme of the international competition. Among 1500 works in the open call, the Taiwanese artists Chi-Tsung Wu ’s ‘Crystal City 002’ and Pey-Chwen Lin’s ‘ Revelation of Eve Clone Revelation’, ‘Portrait of Eve Clone’ are selected with the curatorial concept ‘ The Apocalyptic Sensibility’ of the Taiwanese curator Yunnia Yang. She responds to ‘Pioneering Values’ that being innovative is not necessarily an avant-garde pioneer, it is more crucial to introspect the meanings and the influences that technology brings human beings. The Homecoming Exhibition from WRO Media Art Biennale 2013 ‘The Apocalyptic Sensibility: The New Media Art from Taiwan’ will give a complete picture of the curatorial philosophy ‘ The Apocalyptic Sensibility’ with the works of the six Taiwanese artists: Lin Pey-Chwen , Wu Chi-Tsung ,Huang Zan-Lun, Scottie Chih-Chieh Huang, Chen I-Chun , and Zhang Xu Zhan. They look into the technologized civilization with new sensibilities so that we will have deeper perceptions and contemplations about the consumerism and the media society which we live in.
In the human civilization, the pioneers express their foresighted visions and courage to make their dreams come true. As the Greek mythology of Prometheus, the cultural hero dares to offend the Gods to steal fire for human beings and to turn the darkness into the brightness. The role of a pioneer has been always regarded as a pilot who leads ahead, but he might be a critical thinker. Under the excessive obsession and the advanced development of technologies, could the human beings employ technologies rationally, as well as create the harmonious relations between technology, nature and humanity?
The 2012 Apocalypse of Mayans has gained attentions from the global audience. The theme on the Apocalypse has existed in our popular culture, such as films, novels and comics. It seems that the apocalyptic imagination doesn’t give so much impact to the normal life of human beings and doesn’t cause any overall panic. In the end of the 19th century, the apocalyptic imagination fused love, sex and death together, giving birth to the decadent aesthetics of ‘ Art Nouveau’. It is the point of no return for the contemporaries to enjoy the best love in the life and to indulge in the fin-de-siècle romanticism even if they were confronting the death. Owing to the globalization, mediatization world, and technologization, the apocalyptic imagination in the 21st century is influenced by the simultaneous real-time transmission of the disasters; the reality replaces the imagination. The apocalyptic condition is namely the current situation of the human beings. The apocalyptic imagination might be regarded as an alternative for the survival issue: imagining the human beings to retreat to the utopia land we desire or escape into the virtual world. Walter Benjamin presumed that the postmodern culture is the most apocalyptic representation in the human civilization, regarding the progress as a storm. He predicted that the secret worries behind the advanced development of technologies might be the negligence and even negation of the human sensibility. The Apocalyptic complex is probably a turning point for the destiny of human beings. The attitude to the future is neither absolutely certain, nor positively on the bright side. The ambiguous and enigmatic uncertainty is exactly the perception the contemporaries are experiencing right now. The crisis might be a chance! As the progress is not the only option for human beings to take in the human civilization, ‘Pioneering Values’ doesn't mean to play the leading role in the age. The sensibility and the critical thinking that the Apocalyptic complex has caused will change the new generations’ values to the progress.
The human beings’ longing for the progress originates from the expectation of a better life. Owing to the overwhelming influences of mass media and consumerism, the contemporaries have more desires about their own material life, possessing more visible luxury and lacking more spiritual life. Inspired by the concept of Eve in the Book of Revelation,Lin Pey-Chwen creates ‘ Eve Clone’ as an incarnation of desire itself, cloning herself and sustaining her life in the form of artificial life. The gaze of a viewer is her nutrient. As the viewer notices this uncanny visual relationship, he couldn’t help gazing at her enchanted images. Only if he keeps certain distance from her, he could repress his inner disturbances. The virtual world and the community connections that digital media constructs is not only a temporary spiritual healing place for the loneliness of the contemporaries, but also an imaginative expansion of future world. Undoubtedly, the contemporary real life is manipulated by this invisible spiritual domain. Wu Chi-Tsung transforms masterly the plastic boxes that the human beings overconsume and dispose of into ‘Crystal City’, not merely ironizing implicitly the contemporary consumerism, but also waking up the viewers to review the essence and the beauty of an object. They will find there is a lifelike rhythm as a crystallization. We all know how hard it is to resist one’s desire. The process of one’s inner battle and self-compromise day after day is like a ritual of survival. Huang Zan-Lun’s ‘Double’ implies this helplessly repetitive dilemma. Ingestion is one’s life instinct, but desire is the overexpression of one’s id. In the video ‘Double’, two human-deer hybrids automutilate and cannibalize each other; the sadomasochistic sacrifice becomes a law of desire. Nowhere such humanity leads human civilization to. In the three videos ‘Beautiful Day’, ‘The Piggy Song’, and ‘Very Funny – An Instant Imagination of a Disaster’ created by Chen I-Chun, the images under the incidental music sounding like a music box implies that the media hypnotizes the audience with sweet lies to cover up the dangers everywhere in our living environment. Once an incident has happened after a while, the instant attentions fade away as if the public and mass media get amnesia collectively. However, the physical pains and the psychological traumas victims never can get over with are not able to stop repeating the tragedy itself. The ubiquitous impacts of the media are like water that bears the boat is the same that swallows it up. Zhang Xu Zhan’s ‘Ritual of Cathode Ray Tube’ implies that the media manipulates collective consciousness so recklessly that the public deprived of the free will has nothing left but an empty corpse; eliminating the discordant voice to search for the conformity hides the crisis of killing creativity and imagination. How could we get out from such a dilemma? The notion of achieving the progress inclines to think about the relationship between human beings and the universe involving human subjects. The notion such as ‘Man is the master of his own fate’, ‘ Man can conquer the universe’ is of the Western mainstream values; ‘Return to innocence’, ‘Harmony between man and nature’ is the thinking with oriental spirit. The pure aesthetic relations of returning to nature is that Scottie Chih-Chieh Huang intends to retrieve the simple touching moments in his works ‘Dandelion Mirror’ and ‘Light Machine’ . In the former work, he conveys the pleasure of the overlapping of one’s mirror image and a dandelion’s image, as the appreciation of the Nature gives a viewer joyfulness. Imitating the shape of a plant’s stem, ‘ Light Machine’ shows its structural beauty under the lights and shades. Admiring the greatness of the Nature’s Order, we human beings should think over how to treat the Nature in a more modest attitude.
《Portrait of Eve Clone》 2010-2012
Author: Pey-Chwen Lin
3D Hologram, Acrylic Frame, Spotlight
46x57.5x4cm each piece
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 imprints ‘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 in various angles. When a viewer looks at the portrait to his left or right, he will find out surprisingly her gaze back at himself as if she is a living being.
Behind the beautiful look lurks a crisis of temptation. This work gives us introspection abut that human beings challenge God’s originality with technology and eventually they will face to the fate of being manipulated by technology.
「夏娃克隆」是林珮淳所形塑人類以科技文明所創造之人工生命產物，除了具有突變之人蛹或人獸合體之形像外，額頭與右手都有 「666」獸印喻表科技產物將 反撲控制人類(啟示錄 13:16～18）。藉此《夏娃克隆啟示錄》大型互動投影裝置 批判克隆複製科技產物猶如聖經啟示錄記載那富有權柄的女人的形象：你所看見那淫婦坐的眾水、 就是多民多人多國多方。(啟示錄 17:15）、你所看見的那女人、就是管轄地上眾王的大城。(啟示錄 17:18)
影像裝置中「夏娃克隆」以360度連續自轉並重複延遲播放表現其複製性，而影像底部則以六種語言的聖經《啟示錄》章節來敘述與定義 「夏娃克隆」的角色與 終極命運。另外，為了強調「夏娃克隆」具有的人工生命力，特別以電腦自動運算的數字來表達其生命指數，當觀眾進入裝置現場時，生命的指數就啟動且顯示的電腦時間碼（Time Code)是與人類同時活在當下的毫秒，聖詩般的背景音樂，而加重了「夏娃克隆」如大偶像般的崇高性，又當觀眾離去時生命指數則停止，而「夏娃克隆」身上的顏色也逐漸褪去成黑白，喻表人工生命的無法自主，也藉此提出人類驕傲以科技挑戰神的原創終必無法取代真正的生命，人類所發展的科技，雖具有無限的吸引力，但也控制了人類的命運，正走向聖經所預言的末日大災難。
《 Revelation of Eve CloneI》2011
Author: Pey-Chwen Lin
Interactive Installation (3D Animation, Computer, Interactive System, Web Cam, Projectors, Stereo)
‘ Eve Clone’ is the artificial life that Pey-Chwen Lin creates with the help of technology. Besides her mutated look of human-cocoon or human-beast, in the forehead and the right hand of Eve Clone there are the beast imprints ‘666’ implying that technology products will revenge and manipulate human beings. (Revelation 13:16～18）. By means of the large interactive installation ‘Revelation of Eve Clone’, Pey-Chwen Lin criticizes the clone of technology products with the powerful female image that the Book of Revelation depicts: 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)
In this installation, the image of ‘Eve Clone’ continues 360 degree rotation and repeats playout delay to represent its reproducibility. At the bottom of the image there are the quotations from the Book of Revelation in six languages to narrate and define the role of ‘Eve Clone’ and her ultimate fate. Moreover, the numbers that the computer calculates automatically represent her life index to emphasize the artificial life power of ‘Eve Clone’. When a viewer enters into the installation, he turns on her life index showing the Time Code which is the millisecond which human beings and she live in. The hymnlike incidental music enhances the idol-like sublimity of ‘Eve Clone’. As the viewer walks away, the life index stops so that the color of ‘Eve Clone’ turns into black-and-white color. It implies artificial life is not able to be independent. The artist proclaims that human beings challenge God’s originality proudly with technology which they cannot replace real life by. Although the technology human beings develop is extremely charming, it manipulates human destiny leading to the Apocalyptic catastrophe that the Bible predicts.
《Crystal City 002》 2009
Author: Chi-Tsung Wu
Kinetic Light Installation (Metal, Motor, LED, Plastic)
There is another invisible world in which we live each and every day. It is made up of electronic equipment, programs, networks, media and information, and I call it “Crystal City.”
I chose the word “crystal” because this world grows like a crystal, each individual element within it automatically coming together and infinitely expanding and spreading according to a set internal rhythm and logic
It is transparent, light, invisible and lacking in volume and yet still projects a world of unparalleled reality.
This is a place I consider our spiritual home.
Author: Zan-Lun Huang
12 min. 55sec.
As a young emerging Taiwanese artist, Zan-Lun Huang’s works are often taken on different forms, such as kinetic installations, videos and paintings, where visitors can explore and contemplate issues of modern technology, desires and self-awareness. Double came into existence from the old Chinese food culture commonly uses animals’ organs into recipes to complement the corresponding organs in human’s bodies. The idea of this video is to question the belief of these organs could enhance weakened parts of human bodies and even spirits because they carry out similar functions in animals? And follow by the same logic, as a weakened human being; we should multiply these outsources powers as many as possible? How much do we need and what would we become once we started such an infinite complementary form?
《種子鏡像 v.03》 2014-2015
《Dandelion Mirror v.03》 2014-2015
Author: Scottie Chih-Chieh Huang
Interactive Installation (Algorithm, LED Panel Display, Embedded System, Webcam,
Half - Reflecting Mirror)
50 x 80x10cm
Mirrors mean a kind of media. Through physical properties and reflection, mirrors are available for the primates to gaze at themselves. It is quite a brilliant object allowable for people's reflection through self-gazing and self-reviewing. Dandelion Mirror acts as an interactive installation with the sensuous observation to measure a viewer, combining with real time generative animation and physiological measurement device by using non-contact sensor technology. The bio-sensor based Dandelion Mirror is able to measure a user's facial emotion through a camera, gathering a user's smile as nutrient, raising virtual dandelion growing, appreciating our daily life with pure smile by applied smart technology and media art. The virtual patterns used fractal and recursive algorithm to mimic the morphology of a dandelion flower, and the shape of virtual plant will transform itself according to a user's measured data. Mixing half virtual patterns, half self-portrait on a half-reflective mirror surface, it demonstrates a novel symbiosis of data visualization that brings functional aesthetics, healthcare thinking into our living.
48 x 48 x 43cm光是生物賴以維生的必需品，也是人類開始記憶形體與認知世界的依據。因為光的幻動，引導我們搜尋過去成長歷程中的記憶片刻、感受潛意識中存在的原始印象，像是遠望湖面波光的跳躍、欣賞生命體趨光特性的生長變態、一天中感受光影變化的空間情覺，都是一種伴隨著實體物質與虛擬幻境的光體表現。可惜這些原始的情感表現方式，經常在現代受資訊包圍的時代中所忽略。本創作是一件類桌子尺寸的物件，借由當代工業設計與製造技術(CAD/CAM)與互動科技(interactive techniques)的應用，將建築拱頂的形態構造發展成互動性的室內光影呈現，延伸傳統器具的視覺表現、互動體驗與人造情覺的感性陳述。
《Light Machine》 2015
Author: Scottie Chih-Chieh Huang
Interactive Light Installation (Stainless Steel, Half-reflecting Mirror, Self-control Infrared Sensor, LED, Motor, Lighting Controller)
48 x 48 x 43cm
Light is a necessity for a creature to live on, and a basis that human beings start with to memorize shapes and recognize the world. For the transformation of light leads us to search for the fragmentary memory of our growing up, to perceive the primary looks of beings in the subconscious. The spatial perceptions of light and shade in one day, such as appreciating flickering reflections on a lake, cherishing the growth transformations of phototactic beings, are a kind of luminous expression shaped along with physical substance and virtual illusion. It is pity that these primary sensibilities are often ignored in our contemporary world flooded with information. Light Machine is an artistic table, inspiring and extending from the morphology of architectural vault for creating novel aesthetics on interior scale. Through the light conducting on the half-reflecting mirror and the complex structural patterns, it produces the immersive atmosphere as the light of the prophet, brings soothing and relaxing metaphor into our living space.
《Beautiful Day》 2011
Author: I-Chun Chen
4 min. 59 sec.
The abundant messages and tragic news through mass media make people insignificant and demobilized. The more stimulating these messages are, the more indifferent people become detached from the punctum moment; although living in a high risk society, people only turn to the good news; the illusional balance of terror cannot be broken. Why not just deliberately shut down the source of these messages and rearrange them, trying to tell everybody that everything is fine? Through images, symbols and through auras, these works are trying to delineate this hypnotic situation; it is the life now we are living.
《The Piggy Song》 2013
Author: I-Chun Chen
The Piggy Song is derived from a Chinese phrase “drinking cups flowing in the river” which describes how the ancient intellectuals’ leisure in nature. In modern times, such a luxury can no longer been seen on the riverside. Industrial wastewater or bodies of animals which have died of diseases gracefully float in the river. Later, with the help of strong chemical disinfection, the water from the river safely enters our bodies to nurture every organ inside us. The supply chain of unlicensed slaughterhouses magically transforms various dead bodies into delicacies and distributes them into restaurants around the country. Every time when a herd of pigs die together and the news channels spend a few seconds on it, we will finally think of the unnatural, almost magical, source of the tasty sausage.
2012 事件的碎裂藉由僅存的文件補足，而其中尚且存有許多裂縫，藉由口述和各自記憶去補全所謂不可見之部分。追溯20年前深夜的奔跑和逃離，所竟為何?直至今日從許多細碎的線索，追尋出一個片面，漸漸拓展清晰那個曾經的謎團，即使手中握有的訊息多是官方的信息，但也藉由田野和拜訪去理解部分。 人們身邊有時會歷經一些超脫的詭譎經驗，臨場的當下是激烈的猛烈侵襲。而主體失控和消失的身體性，只得全盤接受現下和所獲得的，亦或吞忍，在這弔詭的社會失序中。 我們在疆界中劃出一個看似安全的界地，放置了一個被再三保證的安全景觀，而實質事件發生後，日晨人口稠密的工業區，深夜寥寥幾人的夜班勞工，也因瓦斯罐裝車疏漏引起的遽然大火而連夜逃命。 我藉由所知的斷裂，去拼湊出所知的歷史，描畫的是當時的人們其當下及日後的身體感知和存有在心中的災後畏懼，藉此慰藉當年罹難的以及逃離中的所有人們。
《Very Funny – An Instant Imagination of a Disaster 》 2012
Author: I-Chun Chen
The fragmentized events are completed by the remaining documents. The gaps in-between have to be filled up with narrations or memories. I try to figure out what caused the midnight escape twenty years ago. Collecting fragments of details, I map out a general picture to search for a clear scene, gradually clarifying the one-time puzzle. Even though the information I have mainly comes from the government, field research and on-site visits allow me to understand some part of it. People sometimes experience something surrealistic with a violent strike. The Subject is out of control, and the disappearing physicality has to accept, and even to tolerate, the ongoing situation. In this bazaar disorder of the society, we circle an area which seems to be safe within the boundary and put inside the scenery with guaranteed safety. A gas truck accident trigged a deadly fire, several night-shift workers in the industrial district ran away in the middle of the night before the area got crowded in daytime. I picture the history by the fragments which used to be unknown to us, visualizing the physical perceptions, the fear, and torments experienced at the moment and ever since then to comfort the victims and those who escaped.
《Ritual of Cathode Ray Tube》 2011-2013
Author: Zhang Xu Zhan
Animation Installation ( 5-channel synchronous video projection, pencil, paper)
Since the advent of the digital era, television and communication interfaces have become the most prominent means of receiving information. The information converted from digital signals can be used not only to express individual perceptions, but also to produce and influence collective opinions. The artist uses animation to express his views on contemporary Taiwanese media. The implied symbols in work are embedded in a torn (open CRT (Cathode Ray Tube) screen. The screen is laid out to serve as a musical score allowing the conductor to lead the people in the performance of a nonsense chant. United by a meaningless collective consciousness, they seem to suggest a passionate and ebullient orchestra, but are actually an absurd and bizarre gathering. The symbols implied in my artwork include the tongue as a metaphor for speech and the desire to provoke, and the conductor swinging numerous arms represents the manipulation of the media. The artist mock the incredible influence the media has over contemporary society and the way it stirs the emotions of the public.