The Most Familiar Strangers: From Pey-Chwen Lin’s Wannsee Conference

The Most Familiar Strangers: From Pey-Chwen Lin’s Wannsee Conference

by Luchia Meihua Lee

Drawn in by the loud noise emanating from a video screen displaying the faces of 28 strangers, we notice that they are all speaking at once. In a strange way, their faces seem familiar. Upon closer inspection, we realize that these "strangers" are, in fact, leaders and celebrities from around the world. Upon gradually figuring out who these strangers are, viewers typically smile or laugh out loud, sparking an interest in exploring the ideas behind the artwork.

In this artwork by Pey-Chwen Lin, the faces of these celebrities merge with the AI-generated face of Eve Clone, resulting in distorted and grotesque appearances. In today's media-saturated world, we frequently see these public figures on news channels, talk shows, political interviews, and more. They become so embedded in our consciousness that they feel as familiar as our neighbors, relatives, or friends—even though we've never met them.

If we were to meet one of these celebrities in person, we might feel confused, doubtful, or even embarrassed for not immediately recalling their name, yet we'd be convinced that we should know them. This struggle can be unsettling. When we suddenly remember who they are, we're startled by the realization that the person we see so often on TV isn't actually a friend. This phenomenon reveals the deep and often unnoticed impact of public figures on our daily lives.

The 28 faces at the Wannsee Conference, modeled after real renowned individuals and made immersive through AI, are a powerful representation of how these familiar strangers occupy our minds.


Human vs. AI: Visitor Experience from Concept to Reality

Let us turn to the question that Immanuel Kant deemed central: "What is the human being?" This universal question has never lost its relevance. Part of the answer is that being human means embracing cultural diversity while valuing people as individuals. It also means holding on to aspirations despite the accidents of birth. Another aspect involves a reverence for natural and social systems, as explored through artistic discourse. As Socrates identified five core values—mercy, justice, righteousness, bravery, and love—will we be able to pursue these ideals in the future? Are these questions still pertinent, or will our understanding of humanity be reshaped in an era where AI or clones may follow different standards?

It has become fashionable to predict that our future—and increasingly, our present—belongs to high technologies such as AI, VR, and AR. In this vision, ethnicity and other humanistic concerns seem poised to dissolve into a utopian future. However, Stephen Fry argues that we are living on a flood plain, and a great storm is coming. Most urgently, and perhaps counter-intuitively, in order to prepare for a future brimming with technology, we must intensify our efforts to understand what it means to be human, what machines can and cannot do, and which of our priorities they can support.

Art and humanity are more crucial than ever. We need to comprehend our soul, spirit, sense of beauty, love, inspiration, loyalty, and empathy. The widespread use of machines will afford us much more time, making it vital to understand how and why we can fulfill our true destiny.]


A Conversation with No Talk

This concept reminds us that AI-generated images of world leaders and celebrities—like those from the Wannsee Conference—represent real people who have been merged into a created entity known as Eve Clone. Just as advanced technology and creative science from computer labs can generate an Eve Clone, a single DNA-enabled cell can develop into a real person. While we are aware that the concept of an Eve Clone may be on the horizon, it might not appear in the form of a robot. Instead, moral considerations will determine how far we allow this to progress. The real question lies in navigating the possibilities: how does a community both pretend and protect, and what strategies are necessary to prevent such scenarios from becoming reality, as the artist references from a Bible chapter?

In our current world, complexities arise across continents and various regions. Sadly, in the name of protecting their own people, national leaders often make claims that lead to conflict, resulting in the killing or kidnapping of members of other ethnic groups. This cycle fuels wars, leading to the deaths of thousands of civilians. Large countries like the United States or those in the European Union express concern for global peace while simultaneously providing high-tech weapons that contribute to violence. Thus, the great powers showcase their military might and demonstrate their capacity to dominate the world.

Pey-Chwen Lin's Wannsee Conference is a satire of a real-world economic forum, where many world leaders would take pride in participating in discussions and meeting other celebrities to gain recognition. The conference attempts to recruit more influential leaders from around the globe; together, these figures control world finance, politics, media, economics, and society. But in this conference, there is no communication - only babel.

We have witnessed various people's movements around the world: the Arab Spring, the fight for human rights in Chile, Taiwan's Sunflower Movement, which sought to preserve the country's democratic independence from China, and the most renowned yet unsuccessful Hong Kong Umbrella Movement, which involved 2 million people but ultimately succumbed to Chinese power. In Pey-Chwen Lin's artwork, these Wannsee Conferences reveal the sinister faces of leaders with the symbol "666" carved on their foreheads. Tragically, this societal decay continues to surround us, gradually taking over the world and stripping us of our rights.

Artists like Pey-Chwen Lin use new media to expose this troubling trend and raise public awareness. Her AI-generated faces, starting with the central female figure of Eve Clone, initiate a conversation, followed by others who imitate world leaders. The conversation begins democratically, with one person speaking, then two, then three, until the entire crowd is speaking simultaneously, each in his or her own language. This chaotic scene symbolizes a lack of genuine dialogue, where everyone expresses his or her own ideas without regard for others. Although it appears that these leaders are democratically discussing important issues at this conference, there is no real intention to communicate.

Isn't this a reflection of our current world situation?


Eve on the Tower of Babel

In another new video piece, the Tower of Babel serves as the backdrop where a blue, awkwardly moving Eve Clone bends and stands atop the tower. According to the artist, this Eve Clone is “dancing” to show off herself. The blue Eve Clone continues to swing on top of the world's iconic skyscrapers, such as New York’s Empire State Building. One interpretation of "babel" is meaningless mumbling, and it also symbolizes the collapse of the last Babylonian empire. In this context, the Wannsee Conference represents world leaders engaged in their own babble without any meaningful communication. This piece aligns with the Wannsee Conference and other semiotic symbols to suggest a world headed toward collapse due to high technology, exemplified by the AI-generated Eve Clone. These AI world leaders, much like their human counterparts, seem to drag us toward a global disaster.

While innovative technology is often used to explore outer space, here it is employed to create an immersive, interactive art exhibition. In other contexts, AR and VR technologies engage visitors in a discovery of meteors and shifting universes through different time-space continuums. Pey-Chwen Lin's Eve Clone series, which she began developing in 2002, showcases innovative methods including VR, AR, AI, and motion capture photography that blend history, art, theology, digital engagement, and education. Her work reflects a mission to engage and inspire the community, echoing a Renaissance-like revival in the contemporary art world where form, concept, and technique are seamlessly intertwined.

Through seemingly traditional media such as drawing, mathematics, and writing—whether on paper or digital canvas—the artworks serve as a historical treasure hunt curated to create an intimate viewing experience. They delve deep into the connection between human beings and AI technology. However, innovative ideas cannot take root without the individuals tasked with leading them. These people serve as liaisons across various sectors, facilitating implementation, shaping ideas, managing processes, and measuring outcomes to gauge success.


Eve Clone Series and Humanity

Since 2002, artist Pey-Chwen Lin has been developing her Eve Clone series, initially exploring the concept of clones—human-made beings that range from simple robots to today’s AI-enabled machines. As technology advances, we find ourselves gradually entering a world where we may need to defend moral and virtuous principles. In this evolving landscape, it becomes increasingly difficult to distinguish between a fetishized, human-like mechanical creation and a lifeless, cold body. These entities are not confined to the virtual world; they are gradually becoming part of our reality. As they replace human labor, we are left questioning the fundamental value of being human.

When we lose sight of what it means to be human, even if we don't merge with an Eve Clone marked with "666" on its forehead, can our conscience rise and assert itself? Each day, new technologies are developed, and skills that seem mysterious or complex or kaleidoscopic can distract or mislead us. As a new media artist, Lin always aims to raise questions about human values in her work. Machines and equipment can continuously improve and evolve into sophisticated new technologies. However, the more pressing question is: What is the concept behind these artworks?

In an era where technological advancements blur the lines between human and machine, the Eve Clone series challenges us to confront the ethical, moral, and existential questions of our time. As we navigate a world increasingly dominated by AI and digital replicas, it becomes crucial to reassess our understanding of what it means to be human. The rise of these new technologies—whether in the form of cloned beings, AI-generated faces, or virtual realities—forces us to examine the core values of humanity: conscience, empathy, and morality. By raising these critical issues, the Eve Clone series compels viewers to consider the implications of our choices in shaping a future where technology serves as a tool for progress rather than a catalyst for dehumanization. In this way, the series becomes more than just art; it becomes a call to reflect on the delicate balance between innovation and the preservation of our fundamental human values.

Foot notes:


[1] (Louden n.d.), Louden, Robert. n.d. Kant’s Human Being: essays on his theory of human nature. Oxford: Oxford University Press. Accessed May 4, 2019. https://pdfs.semanticscholar.org/f0e6/da6197978d213e17dc76dfa63448decff5b6.pdf.

[2] (Fry 2017), Fry, Stephen. 2017. Shannon Luminary Lecture Series - Stephen Fry, actor, comedian, journalist, author. Oct 3. https://www.youtube.com/watch?v=24F6C1KfbjM.

 

published on: https://today.line.me/tw/v3/article/8nN1KxV

From Sunflower 2014 of the 10th Year before and after

 From Sunflower 2014 of the 10th Year before and after

By Luchia Meihua Lee

Island Sunrise team

Taking a stand on contentious issues may result in a particular chamber of peoples whom play as a whole, by refusing to compromise the statement or action. In this people’s movement exhibition, As James Davison Hunter indicated that signals solidarity and support if we explore to a culture wars, we have observed the whole points of civil society, …is to provide mediating institutions to stand between the individual and the state, or the individual and the economy. and a value of the benefit to remeasure and volatile future, and leave a felling of empowered and make a difference. on the other hand, cultural and art influencers can offer their communities a place to decompress, it is a brake, might play a role of anti-inclusive values segment. [2] The people's movements explore the cultural, political, and economic challenges facing society and devise strategies to shape better tomorrow. It is might change the boundary to serve society and foresight, we can provide a window and spotlight on current challenge of efficiency into the world of volatility connotation.

In March 2014, young people led Taiwan’s Sunflower Movement which in time completely reversed the course of Taiwan’s foreign and domestic policy. On the 10th anniversary of the movement, we would point out that social and political change is won through the brave spirit and effort of the movement leaders and the people - not awarded as a lucky accident. This program will involve artists celebrating peoples’ political movements – largely youth-led – that took place around the world circa 2014. We select 5 movements: the Sunflower Movement, the Arab Spring, the Chilean Winter, the Ukrainian Euromaidan movement, and Hong Kong’s umbrella movement – all of approximately the same era as Taiwan’s Sunflower movement – to which artists will respond. 

First among them, of course, is Taiwan’s Sunflower Movement in which students and other youth occupied Taiwan’s legislative body in protest of the plan by ruling government (that of Ma Ying-Jeou) to strengthen trade ties with China. The Sunflower Movement was successful in blocking the proposed legislation, and led to many of its participants eventually entering formal political life and thus rejuvenating Taiwan’s political culture.  It’s tenth anniversary will be on March 18, 2024. 

Other movements to be celebrated will be Hong Kong’s Umbrella Movement, which took place between 26 September and 15 December 2014 – so 2024 will also mark the 10th anniversary of this movement.  Led by Hong Kong youth, this movement was sparked by China’s proposed changes to Hong Kong’s electoral system – changes that the movement unsuccessfully opposed and were later imposed unilaterally by the government in Beijing.  However, this movement was resurrected on its fifth anniversary in 2019 to protest the bill enabling extradition to China – and trial there – of residents of Hong Kong. Beijing eventually imposed this bill on Hong Kong, further eroding the special status of Hong Kong in violation of the 50-year special administrative status of Hong Kong negotiated by the United Kingdom and China in 1997. However, this exhibition will glorify the spirit of public self-sacrifice exemplified in Taiwan’s Sunflower Movement, and in evidence in each of these popular movements.

Some element of the Arab Spring will be included in this exhibition. While that movement took place in several Arab countries – with varying degrees of success – in the early 2010’s. The Arab Spring started in Tunisia, and then spread to Egypt, Libya, Yemen, Syria, and Bahrain. In Egypt, Libya, Yemen, and Tunisia, rulers were deposed. Protests took place across the Arab world, most particularly in Morocco, Iraq, Algeria, Lebanon, Jordan, Kuwait, Oman and Sudan. All these were movements by youth in opposition to authoritarianism and in pursuit of democracy as well as a brighter economic future, and so fit the theme of this exhibition. While 2024 will be the 12th or 13th anniversary of this movement (depending on which country one looks at), it deserves to be included in this exhibition because of its aims.  It is hoped to examine more carefully the Arab Spring as it took place in Tunisia (where it was successful).

Numerous political movements in South and Central America were youth-led protests. Perhaps one of the most notable was that in Chile in 2011 to 2013. Known as the Chilean Winter, it was a student-led protest against the poor for-profit educational system – especially the post-secondary educational system - extant in Chile at that time which tended to perpetuate Chilean class structure because the children of the very rich had adequate educational choices, but not the children of middle-class families. This system dated to the dictatorship of General Augusto Pinochet, who was not more benign than General Chiang Kai-Shek in Taiwan. In both Taiwan and Chile, the transition to democracy took place peacefully – without a revolution – while political movements such as those discussed herewith fine-tuned that democracy.

The youth movements in Ukraine were known as the Euromaidan or Pomvrancheva revolution. The movement is named after Maidan Nezalezhnosti (Independence Square) in Kiev, one of the first sites of demonstration on 18 February 2014; the protestors at one point also attempted to occupy the legislative branch. Unlike with the Sunflower Movement in Taiwan, armed police stymied this move, killing, wounding or arresting numerous protestors. The achieved aim of the Euromaidan movement was to topple President Yanukovych whom the protestors considered too close to Russia. Yanukovych had negotiated an agreement for Ukraine to join the EU, then declined to do so in favor of closer ties with Russia – an echo of the closer ties with China advocated by Ma Ying-Jeou in Taiwan.

Ultimately, the success of the Euromaidan revolution, which was supported by speakers of Ukrainian and opposed by Ukrainian speakers of Russian, emboldened Russia to seize the Crimean Peninsula, a Russian-speaking area of Ukraine. A variety of artists from the region will make and display art commenting on the Euromaidan revolution in Ukraine.

This exhibition thus celebrates youth-led popular movements of approximately 10 years vintage and simultaneously highlights both the similarities and differences between them. Social and political change is never straightforward and compartmentalized, let alone complete – which is why we have chosen a variety of such movements.

The participating artists in Taiwan Sunflower Movement, first is 

Tsung-Jung Liu 劉宗榮 , Sunflower Movement frontline artist, Liu involve the social movement with art work from Taiwan Dapo issue(大埔事件), In June 2010, Miaoli County Magistrate Liu Zhenghong deployed crane entered the rice fields and destroyed the rice husks that were about to be harvested shocked the country. The issue of land expropriation spread. The forced demolition incident in Da po triggered 20,000 people to take to the streets in Taipei to protest, and they occupied the Ministry of Interior for an all-night sit-in, demanding an apology and compensation, return of the land to its original owner, a thorough investigation of the abuses, and immediate amendment of the law. Many of Sunflower main protecters are also the key supporters.

from 2012 to 2014,  large mural , portraits was completed, symbolizing the determination of Ta Pu residents to protect their home. On July 2014, artist Liu Tsung-Jung started wall painting at the original site of demolition Cheung Pharmacy to create the "Four Evil Men" paintings. The paintings included portraits of Ma Ying-jeou, Wu Dunyi, Jiang Yihua, Liu Zhenghong, and many young people who caused the Da Pou Incident. Take the initiative to join. In following many social justices event, he participated and walking into the frontline to hold the strong will protect the justice of the society. in his studio, numerous archives are collected to show the historical records. The large painting ‘Illuminating Darkness“ he painted in 2014, is a spirit symbol of Sunflower, he use skillful painting other portraits such as Lee Deng Hui, in mingle with Jad mountain. Also the pioneer of Taiwan Independent leader Shi-Min, he catch the shape eye in this leaders. As an passionate in care about country, he not only with humble humanity personality with love from what he deep involved in christin believe.

Enbion Micah Aan洪延平, is a New York human rights activist photographer, he care all the people’s movement, from the photography he taken, about the animal right, environmental subject, to the education pursue, also

Island Sunrise Team島嶼天光團隊, Sunflower Movement frontline art team, although the portrait artist would like to be anonymous, while people known he has painted over 12 paintings during the occupying legislative Yuan, all these portraits can be any of people who participating the protect, and unknown the name. the group also made a documentary video to records the demonstration.

Hsin Yi Liu 劉欣怡, Artists who participated in the Sunflower Movement protests,  as she always soft middle tone color to paint two large abstract paintings to reveal the chaotic of Taiwan, China and the world situation. Chia H. Kuo (The social activist sculptor who made the portrait of Dr. Lai Ching The, who been elected to be the President in 2024. Consider the project which include two of the pioneer influence Taiwan’s democracy, as former President Lee Teng-Hui, been call the Father of Taiwan Democracy. Who ended the ariscratic of Chiang Family dynasty in Taiwan, and return the vote right to Taiwanese People. Two portrait of Shi Ming, also by Liu Tsung-Jung, which been very much represent Taiwan’s democratic transition.

In Ukrainian Euromaidan revolution

Oleksii Koval , an Ukrainian artist in exile, he is familiar enamel skill in making large size of the crafts, lithograph, and painting. Her work are details ornament which present a type of royal and metallic surface atmosphere which even two dimensional print or the silk fabric, in this time a large stripe fabric print in similar a queen or king’s wear rope, and a imperial motifs on the fabric. While also in some way compare to the current Ukraine-Russia War, will it showing the past of the classical splendor are gone with the wind, and two palm hold that pray the future unknown, and unpredictable. Consider an Ukranin artist in exile in US. 

Taiwanese American artist Shih-Pao Lin 林世寶 (Artists with themes of humanitarianism in the Ukraine-Russia war), who are walking to the Was Zone in person. In 2023, he started a drawing series of “One painting, one prayer”, he first paint the blue and yellow background on the paper, the start his drawings, the small painting only 8 by 10 size, and he start to do fund raising for the Ukraine artists.

In the exhibit, we can see a 5,000-kilometer road map that Shih Pao Lin traveled in Ukraine with Ukrainian NGOs members in two weeks. They pass by various towns when getting further and get closer to the the front line, along the way, many cemeteries, we can see the statue and soldiers with wings along the way, these soldiers who sacrificed their lives for the country. As long as we see the cemeteries, we are all asked to get out of the car to pay tribute to the soldiers. He said, I cannot remember in that town that tens of thousands of soldiers and civilians sacrificed too much.

To talk about the catastrophic of Chilean Winter, the revolution are not successful, the country is still under the dictatorship, for an female artist, María Verónica San Martín, a Chilean human rights artist, a multi-talent and very bravely choose to use her art work to present and to memorized the people who has scarified during the revolution. She use woodcut print, silk print making a fantastic  subject, she is also taking mixed media in reveal her beautiful country in a sublime beauty landscape, byt while cover in the suffering of the people. A performance she choose the stick to …

Arab Spring, to the country in the middle east, I might include artist from Yemen, or Tunisians , I choose Kevork Mourad, Armenian caravan artist whose family was exiled due to genocide）, in all period human history, genocide has occurred in the prominent in 20 century, while the Turk and Amenia that killing million Armenians that might be almost forgotten, artists Kevork “four fact” video piece that follow his black and while fabric cutting and illustration style, that in a historical lyric sorrow phenomena, in a  sorrow exotic music lead to this whisper background animation open the preface, enter to a no people empty abandon splendor pathetic bundles to reveal, a death, ruin, slaughter exposure, a utterness view that in both staging, and factual grief stress. In the exhibit, sailing nowhere, a sail boat that carry a three panel wings with all disposing of the faces of the bodies blood stain.    

Many of artists unlike Hong Kong’s Umbrella Movement, artist Tracy Wong 黄國才, Hong Kong social activist artist in exile in Taiwan, who has been mentally, physically suffered in Hong Kong’s movements, although now he exile and living in Taiwan, while the shadow, are still make him tremble, and nightmare, not only direct walking to the street, he act, performed, documented, a studio that been neatly arranged and documented, all the performance large mask, toyed human, the cocktail can be transfer to be a visually beautiful sculpture. His under the yellow umbrella drawings, sketches and people that unknown, a studio that open to the people, and the people form this ideology protect. Helping people find common ground. 

A people’s movement often provide a spotlight on timely perils and exposures thus to help the potential clues about how the government to modify risk management to better serve the community people. The  movements, as a whole in common ground, in Hunter’s words “they are mediating, educating." by launch these movements as echo of society, people’s movements which engaging in hard conversations, in their society, country and with communities. People are continuing to fill a critical role in each century.

References:

1. https://www.civilmedia.tw/archives/20038

大埔強拆周年》歷史不能忘記 大埔事件公庫全紀錄 | 公民行動影音紀錄資料庫 (civilmedia.tw)

2. Culture Wars: The Struggle to Control The Family, Art, Education, Law, And Politics In America Paperback – October 14, 1992

3. Culture War 2.0, Museum, January/February 2024. American Alliance of Museums. P. 12

4. The Activist Legacy of Taiwan’s Sunflower Movement, Ming-sho Ho, AUGUST 02, 2018. ARTICLE Source: Getty

5. Bi-khim Hsiao, A letter to the public （蕭美琴立委草擬了一封英文公開信, 主要是要向國際友人說明這次學生運動的主要訴求以及馬政府的無理）蕭美琴 Bi-khim Hsiao , March 25, 2014  ·

https://www.facebook.com/100044353752888/posts/10152034392490687/

__________________________________________________________________________________

In this special project, we have Panelists: from us, whom all in some way, exile from their country and lives and works in US. They are:

 Wei-Ting Chen, Sunflower Movement frontline activist陳為廷(當年運動參與者,现在DC)

 Lin Jie, Sunflower Movement frontline activist林倢（當年運動參與者, 現在在National Democratic Institute）

 Yu-Lun Shih, Sunflower Movement frontline activist施懿倫 (當年運動參與者, 現在芝加哥)

 Kun-Yang Chang, Hong Kong political movements frontline activist張崑陽（香港政治運動領袖，現在流亡美國，在DC智庫上班）

 Jenny Wang, Sunflower Movement in New York activist. Jenny Wang（太陽花台灣年輕人在紐約的行動）

 Island sunrise team

 Maria Veronica San Martin

 Kevork Mourad

 Island Sunrise team

Island Sunrise team

 Kacey Wong

 Tsung-Jung Liu

 Tsung-Jung Liu

Urban ReverenceUrban Divergence Pfizer 2 IW

Contemporary Taiwan Art in Context

 

By Luchia Meihua Lee

Outside In-New Realm for Taiwan Art, 2008

 

TAIWAN AND THE WORLD

The vernacular of contemporary art in Taiwan has been shaped in large part by its geography as an island and its access throughout history to manifold influence from abroad, from countries including Spain, the Netherlands, and Japan. I the 1970s, Taiwan’s economic boom enabled many students to study at western art institutions, and a new generation of artist quickly became skilled at incorporating outside influences into their own styles.

Local influences, however, came to play as large a role as the global, and an ethos emphasizing Taiwan artistic individuality swept the island in the 1970s. The establishment of museums and alternative art spaces in Taiwan marked a milestone in the availability of resources for Taiwan contemporary artists. This growth in public interest in art enable Taiwan to cultivate an artistic dynamism and become a setting for work that reflected uniquely local concerns and sensibilities. In addition, the heritage drawn from both the South Pacific islanders, who constituted Taiwan’ original settlers, as well as that from mainland China, have become interesting fulcrums by which “local” art was and continues to be defined. 

Artist in Taiwan today are faced with questions that confront all artists around the world. With rapid growth in communications, artist cannot help but be affected by ideas from across the globe and inspired to join international art movements. In Taiwan, this has been accompanied by migrations to the U. S. and Europe, not only of students from Taiwan but also of established members of the Taiwan art community, including artist, art historian and curators. At the same time, members of the Taiwan art community do not want to neglect their local heritage and traditions. This tension between embracing the influence of international contemporary art and finding a native voice has asserted itself artistic identity in the midst of the 21stcentury’s ever shifting “global village.” 

TAIWAN AND MAINLAND CHINA (PRC)

In recent year, East Asia has experienced an economic boom as well as an upsurge in international public interest. In particular, artists from mainland China have achieved a high profile and prices for their works have reached new height. However, artist from Taiwan have not gained access into this elite circle. This applies equally to artists in Taiwan and to artists from Taiwan living in the U.S. or Europe.

For example, in Sotheby’s first auction of contemporary Asian art, held in 2006, very few artists from Taiwan were included, while others were not recognized as being from Taiwan. Despite the fact that Taiwan artists are artistically active on the mainland and abroad, their art commands far lower prices and less attention than Chinese art from the mainland. 

Artist mainland China and Taiwan share many of the same traditions, techniques and influences. Yet for myriad reasons, the vernacular of each body of work can, in some cases, be strikingly different. Although a common method by which to try to define the nature of Taiwan art is to compare its aesthetics and subject matter with that mainland Chinese art – vice -versa-such comparisons can be reductive. Nonetheless, viewing art from Taiwan and mainland China in a mutual context can provide fascinating insight into both the history and contemporary developments of Chinese art as a whole. 

BEING “OUTSIDE IN”

The artists showcased in Outside in have dual outsider status. Not only do they engage on the outskirts of the booming Chinese art market,

Which is dominated by artist from mainland China, but in order to find a market for their work, many of them have chosen to work and /or sell their art abroad. Artists are perhaps most original and useful to society when they stand outside of it, however the individuals represented in Outside In are far from marginalized. Active in the United States, Europe and beyond, they continue making new spaces-international local-for their artistic expression.

One question that has arisen for many of the artists in this exhibit is what it means to self-identify as a Taiwan artist when they are no longer working, living, and /or selling art in Taiwan. Some are given the label “International artists” while others have chosen this term to identify themselves. Other artists have been lumped together with artists from Mainland China in exhibitions with no mention of their Taiwan origin. Artistic identity plays a large part in the concept behind Outside In. 

In this exhibit, we choose not to address the political issues facing Taiwan or its artists; instead, we would like to take a more expansive view of the world of contemporary art, and the dimensions of being both “Outside” and “In.” Some of the themes recurring in this exhibit are alienation and alliance in its various guises and the relationship between humans and their environment. 

A BRIEF HISTORY OF CONTEMPORARY ART IN TAIWAN

The end of World War II and the transfer of Taiwan to the Republic of China, follow by the relocation of the ROC government to Taiwan in 1949.marks a watershed moment in the development of Taiwan art. With the concurrent resurgence of the literati tradition, there was conflict at first between older styles and those more recently developed. This conflict eventually turned into a fascinating interaction and tendency in artistic communities to embrace both old and new in creating art.

As mentioned, Taiwan turned inward in the 1970s, focusing even more on its various art forms. What is known as the Museum Age ensued, spurring the growth of alternative art spaces which championed feminism, ethnic diversity, and pluralism. New ideas abounded, with a resultant renewed effort to incorporate Western styles and various art forms into Taiwan contemporary art. 

The creative impulses if Taiwan artists were further deepened by the lifting of martial law in 1987. Greater access to the free flow of information resulted in many students becoming more globally aware and traveling overseas to study art. OF equal importance was the economic boom that Taiwan experienced during this time, which spurred even greater government support for the artis. Artists active during this time felt the effects of a more economically and politically open atmosphere, resulting in growing artistic self-confidence and an overwhelming diversity in subject matter. 

Taiwan artists, having drawn upon such myriad sources, have often exercised their right to criticize state and society. Yet and equally large number of artists have produced works that are more peaceful and introspective. The contrast between these two popular but very different movements serve to highlight the immense range, variety, and vitality of styles currently flourishing in Taiwan contemporary art. Such diversity and dynamism can be observed in the sheer variety of artistic activity, including but certainly not limited to, the re-invention of tradition, the development of postmodern art and the proliferation of politically and socially-conscious art. Particularly in recent years, digital art and the use of new media has been gaining ground. Likewise, the art historians and scholars who have kept pace with these progressions are more widely explorative than their predecessors. Spurred in part by advances in government and in cultural policies, these developments have also had a significant effect upon the evaluation and growth of the art market land have vaulted the art communities of Taiwan into a singular position in relation to mainland China, Asia at large, and the international art world.

 

 

Curatorial supporting essay for the exhibition

Outside In-New Realm for Taiwan Art, 2008

Weatherhead, East Asian Institute, Columbia University, New York City

 

保存過去。創造現在-凱爾斯之書的顯著意義 （Book of Kells)（發表於藝術家雜志） -

(本文刊載於 2019 11月份藝術家雜志） 

by Luchia Meihua Lee

SIGNIFICANCE OF THE BOOK OF KELLS

SIGNIFICANCE OF THE BOOK OF KELLS

Luchia Lee-Howell 

“Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits.”^[1]

The Book of Kells is recognized by UNESCO in the Registered Heritage of the Memory of the World, contains iconic symbols of Irish culture, is identified with the influential role of the monasteries of Columba in European medieval history, and has attracted much attention from various levels of society internationally. As de Hamel writes of the Book of Kells, “‘the most precious object of the Western world’ is now a national monument of Ireland at the very highest level. It is probably the most famous and perhaps the most emotively charged medieval book of any kind.”^[2] The UNESCO inscription of Documentary heritage submitted by Ireland in 2010 and recommended by UNESCO in 2011 for inclusion in the Memory of the World Register[3] reads:

“The Book of Kells is widely regarded as Ireland's greatest historical treasure and is one of the most spectacular examples of medieval Christian art in the world. Its fame rests principally on the impact of its lavish decoration, the extent and artistry of which are incomparable. The decoration ranges in complexity from full folio compositions based around initials or portraits, to small details used to augment and emphasise text. Each page contains decoration. The Book of Kells attracts around 500,000 visitors to Trinity College Dublin every year, and functions for many both in Ireland and further afield as a cultural symbol of Ireland.”[4]

The sentiment that the Book of Kells is the “most purely Irish thing”^[5] (Fig. 3) indicates its role in national identity, and its evidence of high Irish artistic and religious achievement almost four centuries before the Anglo-Norman invasion of Ireland in 1170. Its visual splendour evinced in the lavish decoration by interlace symbols (Fig. 4 a-d), swirls, spirals, animals (Fig. 5 a-m), interlocking beast heads and bodies (Fig. 6 a-c), is a signifier of national culture and symbolizes the power of learning and the impact of Christianity on the life of Ireland, and the spirit of artistic imagination.

While this political dimension, both now and to the authors of the Annals of Ulster, may have caused understandable “patriotic bias”^[6] in favour of this book, it is the best known medieval manuscript in the world, and was much admired and copied across Europe. Symbols from the Book of Kells permeate daily life in Ireland and are found ubiquitously on commercial products aimed at the tourist market. Designs echoing elements of the Book of Kells have been used on the former penny coin of Ireland from 1971 to 2000 and in a commemorative twenty-euro piece in 2012. In addition, elaborated initials from it were shown on the reverse of the old Irish five-pound banknote[7] (Fig. 7 a-c). A detail from the composition on fol. 7v – the Virgin and Child - was reproduced by Patrick Scott (1921- 2014) in his design for an Irish postage stamp in 1972. (Fig. 8 a-d) And in 2018 folios 99v and 141v were reproduced on a set of stamps.[8] In souvenir stores such as the chain store Carols, its pictograms have been reproduced on millions of tea boxes and tea towels, scarves, ties, brooches, beer bottles, cufflinks and place mats.

The aesthetic aspects of the Book of Kells bring a significant sense of inspiration that does not require years of study.

“Look more keenly at it and you will penetrate to the very shrine of art. You will make out intricacies, so delicate and subtle, so exact and compact, so full of knots and links, with colours so fresh and vivid.”^[9]

Even the otherwise disparaging Giraldus Cambrensis (Gerald of Wales 1146-1223) writing in Topographia Hibernia records looking at a marvellous manuscript in Ireland, “on one page you see the face of God, drawn in godlike fashion-in another, the forms of the Evangelists with either six, four, or two wings.”[10] Because of this description, many scholars are not convinced that Giraldus was talking about the Book of Kells.^[11] As Ann Dooley flatly states, “The book of Kells is not, pace Gerald of Wales, ‘the work of angels;’”^[12] the monks who created this great manuscript were professional in their handling of both the words and its decorative agenda. The Book of Kells conveys glowing energy - visible and compelling. De Hamel identifies a key point for any exhibition of the Book of Kells:

“An Insular Gospel was a work of art. It was a sacred object and a tangible symbol of divinity…It was a catalyst for religion and a central implement of the liturgy, but it was not primarily for textual study. Mere reading was secondary – to most of the modern public; queuing to see it in the Treasury in Trinity College today, it is not much different.”^[13]

Since the Book of Kells is a religious document, put aside the academic perspective for a moment to take theology into account. As St. Bonaventure might have framed the analysis, the church has the special task of shaping the will in accordance with piety, and

“… it employs the modus which … proceeds by way of precept, example, exhortation, revelation and prayer. On the other hand, the lesser sciences have the task of educating the intellect, and they employ the modus which proceeds through definition, analysis, and deduction.”^[14]

While the fruits of scholarship can inform appreciation of the Book of Kells, the public may approach the book from a more spiritual stance.

“The Book of Kells, famed for is pure visual splendour, may become even more alive and meaningful in our imaginations if we begin to learn how it may have functioned as a gospel manuscript within the larger context of the Christian elite and the early medieval western Church”.^[15]

Turning from theology to ecclesiastical history in early medieval Europe, Christianity had flourished in Ireland since the mid-fifth century, led by St Patrick and others. Colum Cille (St. Columba c. 521-597), one of the most influential Irish saints, established a monastery in 563 on Iona, an island off the western coast of Scotland but not far from Ireland. Other monasteries were to follow, for example, that at Durrow, and the one at Lindisfarne founded by St Aidan, a monk from Iona.  Since Colum Cille came from a powerful family that supplied kings of Tara, inevitably the monasteries he founded played a sustained role in medieval politics. St. Columba’s ecclesiastical power was embodied not only in relics, but also in Insular manuscripts such as those from Kells, Lindisfarne, and Durrow. Monasteries at Armagh and in southern Britain provided competition. The Columban monasteries prospered for over two centuries and were a principal command post for the dissemination of Irish Christianity into Britain and across into Europe. For example, in the later 6th century, the monks of Columbanus relied founded monasteries in France and at Bobbio in Lombardy.^[16]

St Augustine landed in south-east England in 597 and successfully presented Christianity to King Ethelbert of Kent. A second delegation of missionaries was sent out to consolidate Augustine’s work about AD 601 with the necessary items for worship and ministry of the church. Bede indicated that these included “sacred vessels, altar cloths and church ornaments, vestments for priests and clerks, relics of the holy apostles and martyrs, and very many books.”^[17] These books were impressive when missionaries were trying to convert the mostly illiterate pagans with the literary message associated with Christianity.

Christianity reached England by two different routes – directly from Rome when it ruled Britain and later in the missions of St. Augustine of Canterbury and others, and indirectly from Ireland primarily via the efforts of Columban monks. In a few doctrinal matters, due to their distance from Rome, some elements of the Irish church had developed different customs. The most critical of these was the method of calculating the date of Easter.[18] In 664 at the Synod of Whitby, these differences were adjudicated in favour of the Roman practice. Another division had arisen, between the Italian books which used the uncial script, and the Irish script, accompanied by the delicate Irish interlaced and animal-filled initials. In time, the great majority of those books produced in the islands – England, Ireland, Scotland, and Wales – used the Irish script, which is now called Insular. The resulting style, Insular Art, has its finest exemplar in the Book of Kells. It is one of the first Insular books to contain illustrations of scenes in the life of Jesus, in addition to the abundant marginal decorations, the elaborate decorations of initial letters (Fig. 9 a-e), plants and animals, human figures, and interlace patterns.

Other manuscripts in this tradition include the Lindisfarne Gospels (London, British Library Cotton MS Nero D.IV), dating from 715-720; the Book of Durrow (TCD MS. 57) from around 700; the Echternach Gospels (Paris, Bib. N., MS. lat. 9389) from approximately 690; the Bangor Antiphonary (Milan, Biblioteca Ambrosiana, MS. C.5.INF) written in Bangor, Ireland probably between 680 and 691; the Book of Dimma (TCD MS. 59) dating from the late 8th century; the incomplete Durham Gospels (MS A.II.17) of the late 7^th century; the Book of Mulling (TCD MS. 60) possibly from the 8^th century, and the Book of Armagh (TCD MS. 52) written around 807. Today, Insular, manuscripts are scattered right across northern Europe (Fig. 10a to s- the Insular manuscript family), having been carried by itinerant Irish monks.[19]

To place the Book of Kells in its historical context, consider its origin. There is tentative agreement that it is the product of monks in the group of monasteries founded by St. Columba, the most prominent of which was the one at Iona. Modern analysis suggests that it was begun at the end of the eighth century.^[20] The book may have been intended for the bicentennial of the saint’s death, and thus started by 797. During this period Ireland was coming under pressure from the Vikings. In 792, they first raided Iona;(Fig. 11) returning in 802, they burned the monastery before leaving. During their visit in 806 they killed 68 monks and by 825, they destroyed the monastery. Many of the monks relocated to a safer position inland, in the county of Meath at the village of Kells (Fig. 12) where St. Columba had founded an abbey in 564. The monastery in Kells thus became the new centre for the Columban community. However, even Kells suffered repeated incursions. Scholars have championed various theories, none of which has yet been proven: the book was completed in Iona; started in Iona and then completed in Kells; written entirely in Kells; or created in another Columban monastery.[21] The superlative calligraphy and artistry of the Book of Kells suggest that it was produced in a stable environment. If so, perhaps this was at Iona between the Viking raids, rather than at a hastily assembled scriptorium in Kells. Contentions that the Book of Kells is of uneven artistry or even unfinished support the provisional nature of manuscript-making facilities at Kells. But further information is required for a definite conclusion. There is no definite evidence that the Book of Kells was not produced at yet another Columban monastery, although such a suggestion would need to account for the presence of the book at Kells.

The Book of Kells consists primarily of the four Gospels - written in Latin and following the Vulgate text of St. Jerome’s translation of the Bible in 384 - with occasional lapses into the earlier Old Latin which the new translation had supplanted. A substantial amount of material precedes the four Gospels. First is a set of Eusebian canon tables (Fig. 13 and Fig. 14 a-i), occupying 10 folios and showing concordances among the Gospels. These are followed by Breves causae which summarize the Gospels, and then Argumenta (Figs. 15 and Fig. 16 a-f), or prefaces to each Gospel. The canon tables in the Book of Kells are unusable since the text of the Gospels was not divided and numbered. A. A. Luce summarizes the attitude that valued ornamentation over utility: “My book is written for the glory of God, not for the convenience of learning.”^[22] This outlook parallels the expressions of Diderot, who wrote passionately in defence of the artist’s freedom.[23] It would also resonate with an Islamic visitor who kept in mind the Sufi ideal of valuing a personal connection with God above all. Elaborate planning must have gone into creating the Book of Kells, with the scribe leaving room for illustration, and this might recall the geometric forms of the detailed Tibetan Buddhist sand mandalas that are destined to be destroyed once completed. The sustained attention required of the scribes, who produced page after page of uniformly shaped script, finds an echo in the Buddhist ideal of intense concentration.

One of the glories of the Book of Kells is the precise script, known as insular majuscule. While most authors understandably concentrate on the endlessly fascinating pictorial elements of the illustrations, the Book of Kells is composed of 340 folios, of which 23 are either full-page illustrations or text, such as that on initial pages of a Gospel, which is so complicated as to approach illustration. The other 317 pages are text, and full appreciation of the book cannot be claimed if 93% of it is disregarded.

Early gospel books were used by missionaries in converting people to Christianity. Bibles in the early Christian era were very long and bulky. Thus, they were less than ideal for travelling missionaries; gospel books were much more convenient. A gospel book could quite adequately supply the basis for explaining the word of God to a largely illiterate audience. The Book of Kells is distinguished for the extent of its illustrations. So, while the Book of Kells would have been quite impressive as a conversion aide, by the time of its creation around 800, it would not have found much use in this capacity. Given the numerous uncorrected textual errors,[24] it likewise would not have been useful as a scholarly resource.[25] This suggests that it was intended mainly to impress from a distance, to support the prestige of the Columban community, and for ceremonial and liturgical purposes. The numerous crosses and evangelist symbols (Fig. 17 a-d) and other Christian imagery would also have had a function as talismans to ward off evil. The surest way for a monastery to acquire a gospel book was by producing it in its own scriptorium. Such a scriptorium would need not only writing materials but also skilled scribes and artists.

The more recent history of the Book of Kells, is almost as unclear as its formative years. It was in Kells in 1007, for the Annals of Ulster record that it was stolen in that year from the great stone church of Colum Cille, and subsequently recovered.[26] Kept in Kells for several centuries, probably in 1653, according to Meehan it was sent by Charles Lambert, Governor of Kells, to Dublin for safekeeping, following the great damage done to the town of Kells in the Irish rebellion of 1641.[27] It was donated to Trinity by Bishop Henry Jones in 1661.

A value to Trinity that cannot be overlooked is the university’s ability to play a role in facilitating the incremental expansion of knowledge regarding the Book of Kells, to enable the deduction and marshaling of relevant data that constitutes research on manuscripts. Such scholarship leads to likely scenarios which seem to be in the best agreement with current understanding. Seminars and conferences on different topics related to the Book of Kells and Insular art have frequently been held on campus and at other institutions. For example, in 1992, a conference concerning the Book of Kells was held at Trinity, and the proceedings of 27 scholarly essays in 603 pages published.^[28] Also the International Insular Art Conference, has convened the conferences in Cork in 1985; in Edinburgh in 1991[29], in Belfast in 1994[30]; in 1998 in Cardiff[31]; in 2005 at Trinity [32]; in York in 2011[33]; Galway, Ireland in 2014[34]; and in 2017 in Glasgow.[35] (for details, see Appendix Two). The Trinity Long Room Hub held a “Beyond the Book of Kells” lecture series[36] focusing on other books and manuscripts in Trinity’s collection. This unique academic lecture series crossed disciplinary boundaries to address art historians, medieval historians, archaeologists, biblical scholars, artists, scientists and calligraphers.

Another concern of conservators is the history of rebinding of the Book of Kells. According to Meehan, the book has been rebound at least five times, counting the rebinding that must have followed its theft in 1007 which destroyed the cover; there is no record of this rebinding. Four rebindings have taken place while it was in Trinity’s possession. In 1742 John Exshaw rebound the manuscript as part of general overhauling Trinity’s library.^[37] In 1825 or 1826, George Mullen cleaned the margins, trimmed the pages, and added white paint to improve the definition. Mullen cut the top and bottom of numerous pages, an operation most clearly seen on the St. John portrait page. Sir Edward Sullivan described^[38] this rebinding as ignorant. In 1895 the binding again needed repair, and Galwey of Eustace Street in Dublin rebound it. The book was most recently and competently rebound by Roger Powell in 1953 (Fig. 18). He completely restored it, dividing the Book of Kells into four volumes. In this way, the codices on display can be rotated, thereby minimizing exposure. The page in the books on exhibition at the Old Library is turned once every three months.

Another value to Trinity is that much student and faculty research, teaching and public lectures are based on the Book of Kells. The book exhibition makes a major contribution by inspiring artists (Figs. 19, 20, 21, and 22) and acquainting members of younger generations with Irish culture. For a university that was a bastion of Protestant privilege during much of Irish history, on whose campus armed men were deployed during the Easter Rising to defend it against the revolutionaries, stewardship of this iconic signifier of Irish culture provides a link to the local population.

In 1821 and 1849, the Book of Kells was shown to George IV, and in 1849 to Queens Victoria and Prince Albert.^[39] Queen Elizabeth II and the Duke of Edinburgh (Fig. 23 a, b) visited in 2011. Mary McAleese, then president of Ireland, gave a speech at the launch of the Book of Kells Exhibition Turning Darkness into Light.^[40] Trinity boasts on a website^[41] that (Fig. 24 a, b, c) Mrs. Obama and her children, US Vice President Joe Biden, Prince Charles, Sir David Attenborough, Hillary Clinton, President and Mrs. Carter, Al Pacino, Michael Palin, Bruce Springsteen, Pierce Brosnan and Julia Roberts have all visited the Book of Kells. The Book of Kells lends Trinity College immense international prestige.

---

[1] (United Nation, 1978); article 27.

[2] (de Hamel, 2016); p. 99. ‘the most precious object of the Western world’ are the words of the Annals of Ulster, U1007.11

[3] (The United Nations of Educational, Scientific and Cultural Orgnization, 2017); http://www.unesco.org/new/en/book-of-kells

[4] Ibid.

[5] (Power, 1940); p. 67. Quoting a letter from James Joyce “… It is the most purely Irish thing we have, and some of the big initial letters which swing right across the page have the essential quality of a chapter of Ulysses.”

[6] (Moss & Bioletti, 2016), p. 11.

[7] (The Old Currency Exchange, 2015)

[8] (General Post Office, 2018)

[9] (Gerald of Wales, trans. 1982); p. 84. Translated by O'Meara, John.

[10] Ibid.; p. 84.

[11] (Sullivan, 1988); p. 5.

[12] (Dooley, 2007); p. 24.

[13] (de Hamel, 2016); p. 128.

[14] (Minnis, et al., 1988 repr. 2003); p. 200. As cited in (Thompson, 2018); Medieval History seminar.

[15] (Farr, 1997)

[16] (Brown, 1989); p. 29. St. Columba was only the first of a long line of Irish monks who were travel to the continent during the 6th to 9th centuries.

[17] (de Hamel, 1994); p. 14.

[18] Ibid.; p.22.

[19] Ibid.; pp. 14-15.

[20] (Meehan, 1994); p. 21.

[21] (Brown, 1989); p. 81.

[22] (Luce, 1952); p. 13.

[23] (Schapiro, 1994); p. 201.

[24] (Brown, 1989); p. 73.

[25] (Brown, 1989); p. 75.

[26] (Meehan, 2012); pp. 20-21.

[27] (Meehan, 2012); p. 24.

[28] (O'Mahany, 1994)

[29] (Spearman & Higgitt, 1993)

[30] (Bourke, 1995)

[31] (Redknap, et al., 2002)

[32] (Moss, 2007)

[33] (Hawkes, 2013)

[34] (Newman, et al., 2017)

[35] (The University of Glasgow, 2017)

[36] (Trinity College Dublin, 2017)

[37] (Meehan, 2012); p. 25.

[38] (Sullivan, 1988) p.6.

[39] (de Hamel, 2016); p. 133.

[40] (President of Ireland, 2018)

[41] (Trinity College Dublin, 2016); Commercial Revenue Unit.

fol. 27v

Source: Meehan, B., 2012. The Book of Kells: with 250 illustrations, 230 in colour; p.62

folio 202r

Elaborate design and patterns, interlace, spiral, trickles

Source: Meehan, B., 2012. The Book of Kells: with 250 illustrations, 230 in colour; pp. 152 & 148

by author 

 

folio 34r

Elaborate design and patterns, interlace, spiral, trickles

Source: Meehan, B., 2012. The Book of Kells: with 250 illustrations, 230 in colour; pp. 152 & 148

by author 

This elaborate design is constructed from dots, circles and lines. Spiral ornament is Celtic and a difficult to master because its visual grammar is subtle and complex, with sophisticated interlaced, interlocking, and interwoven braids. Knotwork had a simple formula and was well known in European art.  Classical plant and vegetal motif used palmettes, vine scrolls, lotus buds, and peltae either as symbols or decorations. Variants of spirals, running scrolls and wave tendrils, triskeles, and tubular whorls. 

The book of Kells manuscript used to be displayed in the long room with other library collections 

Source: (Claddagh Design , 2018); https://www.claddaghdesign.com/history/irish-treasures-the-book-of-kells/

(above essay taken partially from Luchia Lee-Howell's postgraduate thesis

PRESENTING THE PAST TO THE FUTURE

A Curatorial Perspective on Exhibiting Trinity’s Book of Kells)