(本文刊載於 2019 11月份藝術家雜志）
by Luchia Meihua Lee
Tuesday, January 28, 2020
Monday, September 9, 2019
Pey-Chwen Lin: Augmented Reality Evangelist
Pey-Chwen Lin: Augmented Reality Evangelist
林珮淳：擴增實境的佈道者
by Luchia Meihua
Lee
In this context, Stephen Fry [[ii] ] emphasized that we live in a flood plain and a great storm is coming; most urgently, in order to ready ourselves for a future bristling with technology, we must redouble our efforts to understand who we humans really are. We need to begin to understand what machines can and cannot do, and what human priorities they can assist. Art and humanity are more important than ever; we need to understand our soul, spirit, sense of beauty, love, inspiration, loyalty, and empathy. As machines can be programmed to do more, we will have more time so we need to know how and why we humans can fulfill our true nature.
Lin’s Eve Clone is readily recognizable; nude, in a crouching posture with partly extended arms. Symbolism abounds in Lin’s Eve Clone works; in her words, “The numbers, symbols, sounds and images in my works describe an important ‘appropriation’ concept.” On one level, they support belief in the Christian bible and prophets. On another level, Lin clothes the demon in ideal, standardized human form. As an example, investigate the video Making of Eve Clone then the AR-enabled documentary prints Making of Eve Clone Documentation, five of which show the development of Eve Clone’s hands and five of which show the development of Eve Clone’s head – all of which featured in the exhibition Urban Tribes. While the prints show a mechanical – almost architectural – elaboration of features that become more detailed in each successive print, the chilling app allows Eve Clone’s eyes to open and blink while head and hands rotate, as Lin’s creature wakes from her digital stupor. In the artist’s 2014 Revelation of Eve Clone video reflecting on global climate change and rising sea level, she gives us an animation of Eve Clone under water. Eve Clone’s head is golden, with a triple 6 adorning the forehead. In the video, its legs gradually turn to lead, matching the dream of Nebuchadnezzar as interpreted by Daniel.
Lin constructs another version of Eve Clone which is superimposed on and even obscures Vitruvian man, DaVinci’s ideal specifications for the human figure. Thus, the artist points to the danger that today’s advanced digital technology is also creating an ideal. For the video, Lin used a virtual camera to show from various angles how Eve Clone has been shaped and to emphasize her digital nature. The wire frame and skeleton, VU texture mapping, and pattern engraving not only serve as documentation but also underline how Eve Clone is a digital product of human desire. In another AR-enabled series, Lin explores the virgin Mary depicted as a classic and elegant renaissance woman head, recalling the series of prints showing construction of Eve Clone. In this digitally augmented reality, we have entered a qualitatively different era of information and new technological connectedness. As these prints suggest, it may be difficult or even impossible to distinguish the real from the fake, the robotic, and fetishistic.
Now turn to the Great Babylon video, which has Eve Clone high in the air above Babylon, at that time the capital of the most potent empire in the world, a great seat of learning and culture and law, famed for the Hanging Gardens of Babylon cited by ancient writers as one of the Seven Wonders of the World. Lin based her video on the the Book of Genesis, chapter 11 which identifies Babylon as the site of the Tower of Babel. Eve Clone presides over the ruin of the mighty city below her, and the subsequent destruction of the world as caused by human beings, and then explodes in the sky above Babylon like a meteor burning up.
Just as the four evangelists transmitted their message through the medium of Greek scripture translated into Latin – utterly new to unlettered barbarians – so too does Lin employ the latest digital techniques to point out that the answer proposed by high technology is deeply flawed, tainted with over-reaching pride, and ignores man’s place in the cosmos.
[i] 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.
[ii]
Fry, Stephen. 2017. Shannon Luminary Lecture Series - Stephen Fry, actor,
comedian, journalist, author. Oct 3.
https://www.youtube.com/watch?v=24F6C1KfbjM.
_______________________________________________________________________________
Exhibition
Pey-Chwen Lin: Eve Clone Augmented Reality
Opening reception: Thursday October 24, 5-7pm
Exhibition
Dates: October 17 – November 27, 2019
Venue:
QCC Art Gallery/CUNY
Curators:
Luchia Meihua Lee, Faustino Quintanilla
Co-organizers:
QCC Art Gallery/CUNY and Taiwanese American Arts Council
Making of Eve Clone Documentation I- Head I, II, III, IV, V, 2017
Digital print with AR Installation and hand drawing 29.3 x 41.3 inches
Courtesy of the artist
Making of Eve Clone Documentation I- Hand I, II, III, IV, V, 2017
Digital print with AR Installation and hand drawing 29.3 x 41.3 inches
Courtesy of the artist
Scan QR Code for Head and hand interactive
Making of Eve Clone Portrait
IAR, IIAR, IIIAR, IVAR, 2019
Digital print with AR installation
and hand drawing
21 x 28 inches
Courtesy of the artist
Videos:
Video 1 夏娃克隆啟示錄
Revelation of Eve Clone IV, 2014
Motion graphics
3D animation, Electronic Music Composure,
Color with Sound, Single Channel DVD Loop
2:14 minites
Revelation of Eve Clone IVM:
Video 2
Making of Eve Clone I
Digital video and sound projection,
3D animation,
9:10 minutes
Video 3
Great Babylon, 2019
Motion graphics
3D animation, Electronic Music Composure,
Color with Sound, Single Channel DVD Loop
2:58 minites
Great Babylon M:
林珮淳：擴增實境的佈道者
使用抽象的手法去描繪一種看不見的精神及現象與一種觀念是自由心証，把它具像化則是一個不容易的過程。將宗教預言數位化并形成虛擬網路存在，取用預見的危機透過藝術的表現來作爲寓言式呈現，它存在一種“説服”觀者的困難度，雖然是存在現實社會中科學的被鼓勵發展也是事實，生物科技的發展野心也可預言了浩劫存在可能。在藝術史上也猶如超現實的結合或是使用符號學來進行分析是存在的，更是中世紀或是文藝復興的藝術呈現的主流。
(中文版待續）
Friday, September 6, 2019
CC Yang: Reclaiming the Vision
CC Yang: Reclaiming the Vision
Opening reception: Thursday September 5, 2019 from 5 to 7pm
QCC Art Gallery/CUNY,
222-05 56th Ave, Bayside, NY 11364
Curators: Faustino Quintanilla, Luchia Meihua Lee
Exhibition Dates: August 28 - September 27, 2019
Watch Us!
Together We Can do it
2013-present
Simulation of the
performance
Reclaiming the Vision presents a unified view of the
interconnected segments of society and the physical environment in which it
functions. This is accomplished by exhibiting CC Yang’s work related to
politics, religion, art history, the environment, and global harmony. Starting
in 2013, Yang has carefully planned a daring performance project named Watch
Us! Together We Can do it for which he is seeking patronship. Collecting
any object in this exhibition will go towards supporting Watch Us! Together
We Can do it. We request your loving contribution to enable Yang’s dream.
Taken as a whole, this work articulates Yang’s vision of a world towards which
we can strive.
Plans call for Yang
to a climb a 300-foot rope ladder attached to a helicopter or blimp, which
ascent will be steadied by 230 collaborators – one from each nation on earth.
When he reaches the apex, his fellow performers, each holding a unique
brightly-colored LED strand, will power on a gigantic artwork illuminating the
darkness. Unified in Yang’s version of an interconnected world, these 230
individuals will serve as role models, as a micro-level spiritual force
intended to create macro-level worldwide harmony.
About CC Yang
Multidisciplinary artist CC Yang was born in Taiwan, and has resided
for many years in New York City. He studied at Parsons School of Design in
Manhattan (BFA, 1986) and at Pratt Institute in Brooklyn (Master of Science,
1994). In a 2009 review Holland Cotter
of the New York Times called one of his projects “a magical tunnel of
love.” He has received grants from The New York Foundation for the Arts, the
New York State Council on the Arts, and from The Taiwan National Culture and
Arts Foundation. He was awarded fellowships from the Vilcek Foundation and in
2018 he was at Yaddo. His 2019 artist residency was at MASS MoCA Studio, and in
2020 he will be at Santa Fe Art Institute for the Labor Residency.
His most recent work addresses society’s efforts to protect itself,
both physically and psychologically, against long-term catastrophe resulting
from pollution, surveillance, isolation, quarantine, and
religious/political/social intolerance. The modern world, as Yang conceives it,
is a graduated mixture of anxiety and entrancement. Twenty-first century
products can do wondrous things, but producers and consumers alike wantonly
discard waste. He explores such short-sighted practices by combining found
materials, video projections, performance, and his own body to make art that
spotlights ways forward. He likes to collaborate with other artists to create
work which deals with the issues affecting individuals and, by extension,
specific communities as well as society at large. Incorporating a touch of
irony, his art helps us become better acquainted with the frightening side of
human nature, signaling experimental and creative ways to view the planet and
ourselves.
CC Yang: Reclaiming the Vision 楊金池的願景
Opening reception: Thursday September 5, 2019 from 5 to 7pm
Venue: QCC Art Gallery/CUNY, Bayside, NYC
222-05 56th Ave, Bayside, NY 11364
Tel: (718) 631-6396
楊金池的願景展覽收錄了他近十年來對社會，政治，宗教尤其以與環境的觀察及關心的作品及行爲表演，作品提供了對社會相互關聯與各環境的統一觀點，通過展示楊金池自不同的角度朝向關注全球，提供一種整體性的和諧及實現的可能。
從2013年開始，楊先生精心策劃了一個名為Watch Us!的大膽表演項目！
計劃將會要求楊攀登一架300英尺的直升機或飛艇上的繩梯，將由230名合作者穩定這繩梯 –這揭示著--來自地球上的每個國家，當他到達頂點時，他的同伴們，每個人都拿著一個獨特的顏色鮮豔的LED線，為一個巨大的藝術作品在黑暗中照亮。 在楊金池版本的相互聯結的世界中統一，這230個人將充當榜樣，旨在創造宏觀層面的全球和諧的微觀精神力量。
我們共同努力為他尋求贊助。 在本次展覽中收集任何物品將用於支持Watch US! 我們一起做到了。 我們要求您的愛心貢獻，以實現楊的夢想。 總的來說，這項工作闡明了楊的觀點, 也是我們可以為之奮鬥的世界。
Tuesday, September 3, 2019
Friday, August 30, 2019
CC Yang: Reclaiming the Vision 楊金池的願景
| ||||||||||||||||||||||||||||||||||||||||||||
Sunday, August 18, 2019
Ruminations on “STATELESS” 「無國籍」的聯想
Ruminations on “STATELESS” 「無國籍」的聯想
By Luchia Meihua Lee
Suppose a group of Frenchmen formed an alternative government
and claimed to be the official government of France. Suppose that indeed they controlled 75% of
French land at one point, but were defeated in a French civil war and retreated
to the Basque land in Spain. After some time had passed, they might bow to
reality and relinquish their claim to govern France but then claim – with the
consent of the Basque people – to govern that land they controlled in the
Basque part of Spain.
Now the Spanish government in Madrid might contest the alienation
of some of their country. But it would be no affair of the French government in
Paris.
This is the situation with the Republic of China with one
crucial geographic difference. The land
to which the government of the Republic of China retreated, after losing a
civil war in China, did not belong to a third country. It was an island,
Taiwan, that Japan had ruled and claimed as a Japanese prefecture, but which
the United States seized as a bounty of war and gave to the Republic of China.
Japan has never claimed Taiwan since losing the Second World War. But the
parallel still holds – the People’s Republic of China has no valid claim on the
territory of Taiwan.
Steven Balogh's “stateless” series paintings apply graffiti
lines as in paintings in recent years, a free-flowing line and a dynamic
abstraction (Gestural abstraction); I like to cite Cy Twombly’s later paintings
as an exemplar. Developing work of the Bauhaus in Germany, Black Mountain and
Jackson Pollock, Twombly extended abstraction to embrace an avant-garde new
world of street graffiti and classical painting. The difference in this series
of refugees and stateless works is that Steven Balogh put graffiti on images of
his early passport and identity documents. Steven Balogh in1989 was officially listed
as “stateless” which recalls the diplomatic dilemma of people living in Taiwan.
For example, the flag of Taiwan needs to be hung inside the New York office of
Taiwan’s de-facto consulate. Also,
the country can't join international organizations or participate under its own
name in international sporting events. Steven Balogh's passport turned out to
represent a transitional period for him; he has embraced a new life and
identity as he passed from the refugee camp to New York. Can Taiwan let us know
that the internationally-recognized nationality is coming?
「無國籍」的聯想
綠可
假設一群法國人組建了一個替代政府並聲稱自己是法國的官方政府。假設他們確實在某一時刻控制了75％的法國土地，但在法國內戰中被擊敗並撤退到西班牙的巴斯克地區。經過一段時間後，他們可能會屈服於現實並放棄他們對法國統治的主張，但隨後在巴斯克人的同意下，要求他們控制他們在西班牙巴斯克地區控制的土地。
現在，馬德里的西班牙政府可能會對他們某些國家的異化提出質疑。但這與巴黎的法國政府沒有任何關係。
這與中華民國的情況有一個重要的地理差異。在中國內戰後，中華民國政府撤退的土地不屬於第三國。這是一個台灣島嶼，日本統治並聲稱是日本的一個地區，但是美國卻把它作為戰爭的獎勵並賜給了中華民國。自從第二次世界大戰失敗以來，日本從未聲稱過台灣屬於他們的領土。但這個概念也是並行存在 - 中華人民共和國對在台灣的領土上也不會是有效的主張。
匈牙利裔美國人史蒂文·巴洛（Steven Balogh）倖免於俄羅斯強加匈牙利的共產主義，被迫的義務兵役以及在奧地利難民營的拘留; 他現在在紐約Astoria區域生活和工作。 他在我們2019年 “都會部落”的展覽中提供的作品反應了他在匈牙利的兵營的不人道要求及的國家的不道德行為。 在奧地利難民營時，他的護照被沒收，並獲得了這份早期身份證件。 從他1989年11月在美國臨時合法居民那裡獲得的護照，特別是將他稱為無國籍人士。
這塗鴉式的綫條是巴洛（Balogh）近數年來蟬蛹的繪畫形式，一種自由揮灑的綫條也是一種動態的抽象（Gestural abstraction）形式，但我喜用Cy Twombly 來連接他的近期畫作，Cy Twombly在德國包浩斯(Bauhaus)、美國黑山學院（Black Mountain）與Jackson Pollock的基礎上，將抽象概念融合街頭塗鴉，並蘊涵經典繪畫加童趣創造出一種新境。不同的是巴洛（Balogh）在這系列的「難民」及「無國籍」作品中，把這種塗鴉加在護照上面及早期的照片。在圖像上我們看到1989 年他的的國籍（Nationality）是無國籍-“Stateless" 讓我聯想到居住在台灣的人民，不也是屬於”無國籍“，這種無國籍狀態也是在台灣整體在外交上的困境，如駐紐約辦事處的國旗是需要懸挂在大廳内部，或是無法參與國際組織，以及使用城市的名稱來代表國家等等。目前正式通用的ROC Taiwan 事實上也不代表一個國家，不同於Steven Balogh 的護照是一種過渡期, 在他通過了難民營的庇護他迎接了新的生活與身份，台灣可以讓我們瞭解即將有確定的nationality來臨嗎？
 |
Steven Balogh, Stateless I, 2019. Stateless II, 2019。Acrylic, pastel, pigment print on canvas
22 x 34 inches，Courtesy of the artist
|
Steven Balogh, Refugee Passport I, 2019. Refugee Passport II, 2019. Acrylic, pastel, pigment print on canvas. 21 x 44 inches. Courtesy of the artist
 | |
|
 | ||
|
 |
Information authentication II, 1980, Ink,
acrylic on paper 28 x 40 inches
|
 |
| Info-kamikaze I./self-portrait, 1979, C print, 12 x 24 inches Courtesy of the artist, Contemporary art collection Ferenczy Museum Center, Hungary, Europe |
 |
Info-kamikaze II, 1979, C print, 12 x 24
inches,
Contemporary art collection Ferenczy Museum Center, Hungary, Europe
|
Subscribe to:
Comments (Atom)