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Transcript of YuYen Lin CV en
Yu Yen Lin
2008-‐2013 Portfolio
Yu Yen Lin 13.12.1987 Born Taichung, Taiwan
E-mail [email protected]
Education 2011 Bachelor Degree of Fine art , Taipei National University of The Arts Arts ,Taiwan, R.O.C
2006 Diploma in senior high school. Miaoli Senior High School .Taiwan.
Exhibitions 2011 “BETA 26th Degree Exhibition” Underground Museum of TNUA, Taipei National University of The arts ,Taiwan
2010 “Die Lec’schen Gedanken”Roemer-‐und-‐Pelizaeusm Meseum Germany
2009 “Double Banana Program”, North-‐South Gallery, Taipei National University of The arts ,Fine art department .Taiwan
2008 “Sea Turtle & Scarf”, North-‐South Gallery, Taipei National University of The arts ,Fine art department .Taiwan
“For the Group Show”, Underground Museum of TNUA, Taipei National University of The arts ,Taiwan
2006 “Perfect!” , Culture Gallery, International Culture and Tourism Bureau, Miaoli, Taiwan.
2005 “7th Graduation Exhibition of Art Class in Miaoli Senior High School ”, Culture Gallery, International Culture and Tourism Bureau, Miaoli, Taiwan.
2004 “Tseng Shian-‐tsai studio Group Show” Culture Gallery, International Culture and Tourism Bureau, Miaoli, Taiwan.
Wards received 2011 Selected Prize ,Film of Poetry 2011 Taipei Poetry Festival.
2009 Winner, Ministry of Education Scholarship for Exchange student.
2009 Winner, The 2th The SHINE of Wings Awards Competition.
2008 Selected Prize, The 1th The SHINE Arts Awards Competition.
2007 Selected Prize, The 25th TNUA Anniversary Photography Arts Awards Competition.
2006 Special Prize, 2006 National Student Arts Awards Category of Comic Competition.
-Pak Sheung Chuen , Odd One In II - Invisible Travel, 2009
Table of content
Next-‐door story (2012-‐2013)
The life always flow (2010-‐2012)
Others eyes others mid (2009-‐2010)
The other works before
Exhibition recording
我嘗試著把我感受到的事情用影像的方式表達出來
或許我會在旅途中迷失
在迷失的過行中 我相信只要向前
就可以找回心靈的方向和直覺
並告訴自己不可在中途返航
I try to represent my feeling through the use of image. Perhaps I will get lost on the road.
When I am lost, I believe that if I keep moving forward, I can find my direction and get my intuition back.
I tell myself that I cannot give up midway.
In the beginning I thought I can live in harmony with others but it ended up with struggling.
In order to avoid quarrels and confrontations, I have to adapt to such circumstance with a
flexible relationship. The records made from the images are my diaries. They are not the
detailed documentation of the everyday life but the fragments that left in my mind
profoundly. Sometimes they are stories I heard from others or my own ones; sometimes
they are a piece of music or a short sentence, yet they are my food for thoughts.
或許一開始我把自己想的太過於能夠以柔順的方式與人相處,與人互動,最後總把自己逼迫到自我困擾的狀
態;而在面對這樣大環境的狀態底下時常呈現打太極的狀態,絕非要我去適應這樣的生活模式以及環境。我
所用影像做的紀錄就像是我的日記,雖然不是把每天枝微末節的事情都記下,但我所記錄下的是深深烙印在
我心中的那些片段。有的時候是一個故事:我的故事或是從別人身上聽到的故事。有時候這些故事可能只是
一段音樂或是短短的一句話,但那卻足夠讓我反覆思索著在日常生活中的狀態。
Carolyn Christov-‐Bakargiev said ‘What Is Thinking?’ The answer for me is ‘to let the unseen
be seen’. In German will be ‘macht sichtbar’. For me these brief words are very powerful.
In my mind, perception could not be thoroughly presented by science or be expressed
literally, yet it could be delivered more completely while similar experience is shared.
“The object of all science, whether natural science or psychology, is to co-‐ordinate our
experiences and to bring them into a logical system. ” (* The Meaning of Relativity Four lectures delivered at Princeton University, May, 1921)
According to this sentence, I do not only visualize the stories but also put my opinions into
them, to expose my confusion. If the viewers follow my thoughts, they might feel perplexed;
but then different answers might appear.
美國策展人 Carolyn Christov-Bakargiev 曾說:「What Is Thinking?」
對我來說答案是:「使看不見得東西被看見」翻譯成德文則是:「macht sichtbar」。
對我來說是非常有力量的簡短文字。
在我認為,人的感知傳達是科學無法表述,文字無法敘述,唯有對方與我有相同的經驗的時候,才有辦法傳
遞。則愛因斯坦曾寫道:「物理學是將人類的共同經驗納入一個邏輯體系。」
所以我不單單想把故事影像化,而是加入自己的想法,讓我困惑的地方暴露出來,觀者如果跟著我走,說不
定會迷失吧?但在此之後彼此將會有不同的答案浮現。
Next door story (2012-‐2013)
So many things happened since I came to Berlin last year; not until half year later all the
things were finally settled down. Then I started to review these happenings, including the
things I experienced, or the news of Taiwan I read through media. Some images repeatedly
occurred to me, and I tried to represent these recurring images through picture-‐like video.
2012-2013 年遇上非常多不同的事情。
在我來到柏林之後,好不容易所有的事情都安定下來。
我開始整理手邊的資訊,包括發生在我身上的故事,或是我藉由著媒體資訊接收到的來自臺灣的故事,有幾
個畫面反覆的出現在我的腦海裡,我試著以一種圖畫的方式做出這些在我腦海中揮之不去的影像。
1. 《Lucid Dreams》清醒夢 2013 / Loop play 2013 Lucid dreams video link
A Lucid Dream is different from a daydreaming: the former is a person in the status of sleep
yet being conscious; a daydreaming is a person fantasizes or mediates while being awake.
Lucid dreams happen in the period of Rapid Eye Movement (REM).
The rapidly moving opened eyes showed that I was conscious, yet it looked like I was in the
period of REM. I kept telling myself that it was a dream in the wakefulness while my eyes
moved faster and faster, then I stopped and stare at myself in the mirror, am I living in the
reality or dream?
My opened eyes telling me that it is not a dream; the rapid eye movement seems observing
the change of environment and I am ready for the upcoming events, yet my eyes is looking
in the mirror actually. It is a loop.
清醒夢跟白日夢並不相同,清醒夢是做夢者於睡眠狀態中保持意識清醒;白日夢則是做夢者於清醒狀態中進
行冥想或幻想,而不進入睡眠狀態中。而做夢則為快速動眼期(英語:Rapid Eye Movement,REM)眼球在
此階段時會快速移動。
由張開的眼睛快速移動表示我是清醒的,但是藉由眼睛的快速移動像是做夢時的快速動眼期。不斷的告訴自
己這是個清醒的夢,眼球越來越快速的移動,最後停下來,清楚的張著眼睛看著鏡子裡的自己,現實的狀態
下是為了這個夢而我保持清醒或是我在夢境中呈現清醒的狀態?
我的眼睛張開著告訴自己我站在這裡不是個夢,眼球快速的轉動彷彿觀察出周遭不同的變化以及準備好面對
一連串的前進,卻才發現我的眼球正處於快速動眼時期,但我眼睛確實看著鏡子裡的自己。再度呈現一個迴
圈的狀態。
Lucid Dreams 清醒夢
Video Installation/ 720*480 /Mpeg 4/Loop 2013
Lucid Dreams 清醒夢
Sketch 2013
2.《girl of OCD 》強迫女孩 2013/02’50” 2013 girl of OCD video link The girl was crying in sadness as she kept squeezing out her body fat in the scene.
Obsessive compulsive disorder (OCD), a common mental illness. Everyone is worried
about the body shape these years, especially people in Asia. At first people tried to avoid
obesity because it cause illness and could be fatal. People have been tried to avoid illness
and fatality, and obesity must be dreadful since it causes both. From 1960s the concept of
thinness disseminated from media, and the idea of beauty of thinness is deeply ingrained in
the society, and it is like a collective ideology so widespread to the extent of compulsiveness
because no one want to be different from the others. Thinness becomes a fashion that
represents the anxiety and nervousness.
畫面中的女孩不停的推擠身上多出的油脂。
強迫性神經症 Obsessive compulsive disorder,也就是強迫症。近年來全世界都在為了肥胖而困擾,而亞洲是
害怕肥胖的尖端指標。一開是因為致死性和致病性而注意到肥胖,病與死是人類從 古至今不停想避免的事情,
肥胖既然導致兩者成立那必定是毒害,更使肥胖開始成為被憎恨的對象。從 60 年代到現在的平面或數位媒體
所灌輸的身材纖瘦觀念現今 早已深植在多數人心中成為某種社會的框架,而這種態度也漸漸的感染下去,雖
然現在看來這是一種集體意識的強迫,但胖的人容易被同儕欺負或是被人嘲笑以成事 實。因為不想要讓人嫌
惡或瞧不起所以「不瘦不行」最後越演越烈呈現出焦躁與神經質的態度。
Girl of OCD 強迫女孩
Short movie/ 720*480 /Mpeg 4/ 02’50” 2013
The life always flow (2010-‐2012) I met a group of friends who majored in or work related to music while they were making
the original sound track of a play in 2010. The three musicians and sound recordists worked
together for over one year to release this play in 2012. I am interested in the
communication between people through this process, and I tried to record it with my
personal perspective even though I never made documentary before.
What was interesting is that while I was choosing the events to edit the video, from the
middle climax to the peaceful ending are all decided by myself. I added the peaceful
interviews into the film because I am afraid of the real situation that I realized, in the end
the audience can only watch a smooth and peaceful film. It is not a false one but the reality
comes from an arbitrary angle. The harmonious story is the beginning of a lie and it
demonstrates the omnipresence of media in the daily life.
2010 年的下半年,我認識了一群做音樂的朋友,他們正忙著為一齣在 2010 年上半年的戲劇演出錄製原聲帶,
其中工作狀態非常複雜,因為三位來自不同領域的音樂家以及錄音師,齊聚一堂,籌備到完成花了一年多的
時間,最後首賣則是在 2012 年。我對這中間人與人的交流以及磨合產生極大的興趣,即便我從未拍過紀錄片,
卻還試想將這一切用我的視野記錄下來。
有趣的是,在剪片階段我開始計畫著該用什麼樣的事件來建立劇本。從中途的激昂到最後總結的平和結束,
都是由我決定的。我開始把平和的訪談加入影片中,因為我害怕做我所意識到的真實狀態。最後觀眾所看到
的是一個平順的影片,它不虛偽但它的真實性卻是獨斷的某個特殊的角度。但是這樣的宣示和平而沈穩的故
事才是一個謊言的開始,媒體的灌輸力就在無波瀾的日常生活中深植。
1. 《Time in…》請繼續 2011 / 17’06” 2011 Time in...video link This is my first documentary. Though the dialogue in the film is real and natural, after the editing it reveals a fascinating atmosphere. Some of the details lost its original meaning but are replaced with another perspective; it is a real yet arbitrary record of living experience. 「 請繼續 」這件作品,是我第一次做簡單的紀錄片,雖然裡頭訴說著的話語是真實且自然的,但在影像編輯之後卻又呈現著另一種奇妙的氛圍。有些細節早已失去了真實的涵意,取而代之的是另一個觀看的角度,是真實卻獨斷的生活事件的記錄。
Time in… 請繼續
Short movie/ 720*480 /Mpeg 4/ 17’06” 2011
2. 《Wandering》微憂 2012 / 01’05” 2011 Wandering video link
It won the Selected Prize of Film of Poetry in 2012 Taipei Poetry Festival. The fluctuation of
traffic route and light combines with the chanting of low female voice, thus create a
mysterious atmosphere.
No one can be so close to a human like i am to him.
Approaching, closer and closer, closer to him than himself
Who often drifts away from this world.
We are wandering on the platform
Don't know yet where to go but i will head toward there.
Having the doubt of self-corruption
I never know what is fear
Once there's eye contact, we smile.
The poetry was in a self-doubt tone, but it is assumed that the other party can be understood, even
his/her dissociation from life. This reminds me of observing people on subway, the off-work
crowds, the sun set which is passed half a hour before, and fast-moving reflection of the lights on
windows of the train. Would the room outside of the windows I passed by be the home of the
passenger standing next to me? The train stopped shortly each station, and the same people got on
and off at the same station. A fear of falling in this bottomless pit of the city aroused, so I tried to
imagine that someone was also sharing the same thoughts to eliminate the feeling of fearness and
powerless.
2012 台北詩歌節影像詩入選作品。流動的交通路線、下班後的燈光,配合著女聲低聲的詩歌唱頌,充滿了迷
離的氛圍。
人們不可能像我接近他這樣更接近一個人類
接近 越來越接近 接近再縮短
比他自己更接近如此經常飛離世間生活的他
我們在月台上漫步
我不知道我要往哪去 但我會往那去
我 擁有自我墜落的質疑
我從來就不害怕
我們的目光一接觸 就微笑
詩裡面說著質疑自我的言語,卻以為能夠理解對方甚至以為連對方對生活的抽離也能理解,讓我想起每每在
捷運上,看著下班的人潮、已經消失超過半小時以上的日落,看著窗外一間間住宅的玻璃窗內的捷運車燈上
的倒影快速移動,現在經過自己眼前的房間,是否就是站在身邊的旅客的住所呢?一站又一站在月台邊短暫
停靠,重複的人在同樣月台上車在同樣的車站下車,一種墜落在城市燈海裡的恐懼感油然而生,所以藉由試
圖猜測了解對方也跟自己有同樣想法而屏除城市虛無的恐懼跟無力。
Wandering 微憂
Short movie/ 720*480 /Mpeg 4/ 01’05” 2012
Others eyes others mid (2009-‐2010)
As are creator, I faced the first environmental impact during my year exchange-‐student
experience in Poland.
Travelling in different cultures may not appear unfamiliar for many people; no knowledge
of local language is also predictable.
There is great gap between being a traveller and having a life somewhere, however this
difference was not foreseen by me during that year. The accuracy and atmosphere tend to
be lost because of translating. And therefore results in misunderstandings on art creating
and perceiving, which I call “Aphasic”.
I followed two professors of image studio and illustration studio respectively. It was also
during that period started my interest in poetry and articles into image.
I had different feelings toward the text and scenary which they are familiar with.
Wandered like a ghost in the city , campus and classes under “Aphasic” , wanting to find a
way to real communication.
Since then I started trying to express my feeling in my works, and find back the
communication with people through images and action.
2009-2010 為期一年在波蘭的交換學生,對於創作者我本身來說也是在藝術創做中首次因外在環境的改變而受
到衝擊。在一個截然不同文化的國家旅行這樣的經驗或許在這個世代的許多人都不感到陌生,無具備當地語
言的知識也在意料之中。旅行中的生活跟生活本身其實有著極大的落差,那道鴻溝的巨大是在這為期一年間
的預料之外。因為語言的翻譯轉化而喪失掉其「精準性」、「氛圍」在藝術的創造跟理解上就會造成不容小
覷的誤解,我稱這樣的狀態為「失語狀態」。
期間我同時跟隨兩位教授,分別為影像工作室以及插畫工作室,也開始了對詩詞及文章轉化成影像的興趣,
當我跟他們看著他們所熟悉的文本、風景,卻是完全不一樣的感受。
身負著「失語狀態」遊走在城市及學校還有課堂之間如同幽魂般的想要找回能夠溝通的言語,因此開始從作
品裡試著敘述我這樣的感受,用影像及行動來找回與人溝通的橋樑。
1. 《Public/Self space》2010 / 02’51” 2010 Public/Self space video link In New Media studio we have a small practice at classroom, every student hat own one
object and take turns to performances in single space. We are not only have our part of
object but also have the object which left from last student.
That is the same mean with the title: public and / or self space.
在華沙藝術學院新媒體系,當學期的集體創作方法是學生們個持一項物件在教室裡面(同一個空間)進
行演出,演出完後將物件保留給下一位表演的同學,以此為延伸。就如同所下的標題: 我與(或)公共。
Public/Self space Video Installation/ 720*480 /Mpeg 4/2’51” 2010
3. 《The Entrance》出口 2010 / 01’05” 2010 The Entrance video link 『wyjścia jest zazwyczaj w przypadku gdy wejście było』-Stanisław Jerzy Lec That is mean ‘The exit is usually where the entrance was.’ in English. I use this short sentence to make a video. The women in the video seems repeat looking for something (Exit), in the end, she notice the door which is set behind her is fake. And all route are just a dream, is that mean Exit? When she awake? 尋找出口的想法繼前言的「失語狀態」及像遊魂一般的找尋到底通過怎樣的渠道才等表達不確定及惶恐和試
圖尋找些什麼的情感狀態,開始這一段影片的創作。
依照波蘭文學家的這句話:「出口總在入口處做為一個引子。影像中類似畫面不停重複, 某種不預期性,影
片中的女子不停的縮在某個空間之中,那種焦慮跟急迫想要找到一個「出口」,最後則發現一切都是夢,而
他想要找的出口根本不存在,那麼清醒能夠當成一個「出口」嗎?
The entrance 出口就在入口處
Short movie/ 720*480 /Mpeg 4/ 01’05” 2010
The other works before
My interests of music and image can be seen in my works before 2008. Followed by some
experimental works and the projects I took part in.
2008 年及更早以前的影像作品,從之前的作品也可以看得出我對音樂與影像的興趣。其他還有一些實驗
性的作品跟所參與的一些計畫。
1. 《City one day》另一種聆聽的方式 2008 / 1’48”
2008 City one day video link
The video is a relaxed recording about a group of people various from ages and
relationships between each other. While they were facing a sudden unforseen event, they
pretended they don’t care or made eyes with others. The young girl was astonished but
pretended to read a newspaper, after her boyfriend showed up she was more relaxed. Their
diversify actions depicted how people need relationships natually. A large group of people
and the elders had no respond to sudden event, because of there were many of them, and
the elders decided to judge from their experiences, thus chose to be silence. Furthermore,
we could tell that the audience had faith in the instrument about the invader’s action.
Animals usually ignore those factors, as the dog remained its former self to the cello.
影像是輕鬆而不沉重的即刻反應的紀錄畫面。不同年齡層及不同關係所組成的小團體,當面對一項突然發生
且非惡意或非攻擊性但意圖不明的行動時,他們的反應假裝不在意,或者是彼此較換眼神以眼神溝通做出決
定。年輕女孩一開始眼神中的錯愕隨後假裝鎮定的看報紙,男朋友出現之後似乎看起來放鬆許多,如同這樣
的反應驗證了人與人之間的信賴及一種尋求夥伴關係的自然反應。或是一整個大團體的人以及上年紀的人對
於突如其來的行為沒有太大反應其一是因為人數眾多,其二則是在年紀稍長的觀者眼裡他們用經驗及邏輯判
斷來得比年幼者多,判斷結束後做出聆聽的姿態。最後可判斷的是,觀者對於手持樂器的侵入生活行動保有
著對樂器本身的信任。動物則不因這些因素干擾,因此在最後我有一點俏皮用了拉琴給狗聽作為結尾,因為
牠是狗所以牠依然故我。
City one day 另一種聆聽的方式
Performance recode/ 720*480 /Mpeg 4/ 01’48” 2008
2. 《Theoria》理論 2009 / 00’30” 2009 Theoria video link A sudden sentiment became a small theory.
The video comprised overlapping images of the cellist and ends with a left, empty chair; it
was just like our relationship with time. A serene and beautiful moment resembles a
fluctuating scene, which is composed of a stream of hundreds of thousands of photographs;
things vanish when time passes but we are not aware of it. Our minds cannot recall the very
original scene, so we imagine while we recall. These imaginations paralleled with those
times, which had fade away. People tend to look at things longitudinally, and main reason
for the parallel is “emotions”. We were often trapped in our emotions while recalling a piece
of memory, actually there is no ending for time, and these would have to end while we
decide to.
忽然的傷感成為一個小理論。
大提琴手的連續疊影,最後剩下一張空的椅子,就如同我時常在想的時間和人之間的關係,某一個美好而安
靜的時刻就像千百萬張的相片去重疊出來的流動畫面,在時間過去的那個瞬間,一切也消逝於無形之中。人
的腦袋無法將所看到的那一個景象終於原始的回播出來,在回憶與的同時已經加入自己的幻想,這些幻想跟
已經消失的時間呈現一個平行關係,則人的視線由縱向觀察,最重要造成這條平行關係的主因則是「情感」,
「情感」的介入使得我們觀看過去那個瞬間會由有走向失於無形中的片段,實際上時間軸是沒有消失的時候,
我們被「情感」而左右,所以有一個開頭也有一個自認的結尾。
Theoria 理論
Short movie/ 720*480 /Mpeg 4/ 00’30” 2009
3. 《From the other side》來自畫面外的某處 (2008 ) 2011 / (00’30”) Installation This work was composed of three sections: the radiator, the photoresister, and the foam
mat. The radiation was transmitted from the radiator to the photoresister through the foam
mat. So while the participants shoot the dart onto the foam mat, which was designed as a
musical staff, the dart would block the radiation to initiate the computer program to play
the music.
‘Why not using more enjoyable ways to make music?’
Everything about this work stared with that sentence on 2008. The process of creating and
composing are often obstructed, so we decided to create an interactive composing machine.
The nonlinear music was not formed by notes, because there are rules about making music,
it becomes noise when it is not followed by them. Furthermore, we decided to make this
process enjoyable, so the composer shot the darts onto the stave, thus made it a melody. On
2011 this interactive art work continued on the malody of the composer, and separated it
into five parts from different instruments and tones. The participant of the audience made
the delightful thoughts easier to be performed.
作品由三區塊組成,中間的五線譜與軟墊,當觀者把飛鏢射上軟墊,使飛鏢阻礙兩側方盒中射出的雷射光
(方盒一邊為雷射發射器,另一邊是光敏電阻。)以遮擋的原理啟動電腦程式的開關播放出非線性的出音樂。
「為什麼我們不能用更輕鬆愉快的方式創作音樂?」
2008 年一切的起因是因為上面那句話,在創作的過程裡很常感到受阻,藉由這樣的想法製作了這樣一個互動
作曲機器,播放的非線性的音樂而不是音符,因為在音樂裡,創作有一定的規範,若超過此規範則成為噪音。
還是以「輕鬆的創作」做為基礎,所以一開始的影片是由作曲者以射飛鏢的方式將音符砍入五線譜,再加以
創作成一段旋律。2011 年此作品為互動形式,延續作曲者的旋律,由此段旋律藉由不同樂器與調性分成五段。
觀者的參與能夠更詮釋其中輕鬆愉快的想法。
From the other side 來自畫面外的某處
Short movie and Installation/ 720*480 /Mpeg 4/ 00’30” 2008 and 2011
Exhibition Recording 《BETA 26th Degree Exhibition》2011/ Underground Museum, TNUA It was a degree exhibition, in which i placed a show room of my own in center of the room, and another work outside the wall. The whole space was private; at in end of a hallway, with my creations from the past five years of study. 學位展,我在展場中間佈置了一個屬於自己的播放空間,其空間外牆擺放另外一件作品,整個空間在走廊的盡頭,是一個私密的空間。展示過去五年內在學院底下的創作。
《Double Banana Program》2008/ North-‐South Gallery, TNUA Vernissage are quite common in art schools, the original intention is to provide visitors
some snacks to enjoy while they attend the exhibition, and however, very often it ends up as
a cafeteria in the campus. People snatching the food is a common scene, as if the only reason
attend the vernissage is for free food. We have a saying , “Holding two bunches of bananas”
meaning to visit others without bringing anything. Here it perfectly describes these eaters.
There was noting but only the name of the exhibition and time of the vernissage with
various types of snacks and drinks provided. The visitors were video taped and
photographed without knowing while they enjoyed the food and maybe started wandering
where the exhibitions were. The “real” exhibition was one day after the vernissage, playing
the video of people eating and chatting in the vernissage the previous day, and their was the
actual main scheme of the exhibition. Some of the visitors were laughing yet some got
mad.What we wanted to reflect was just as simple as that.
在美術學院底下很常看到的狀況是展覽開幕所附屬的茶會,原本只是讓來觀賞展覽的觀眾有些小點心享用,
但到了學校裡面的狀況很常變成自助餐廳。大家搶食茶會的狀態層出不窮,似乎就是準備省下一餐的費用而
去參加這些開幕。在俗語中「手持兩串香蕉」意思是雙手空空,什麼也沒準備就去別人家作客。我們藉此用
來形容這些「食客」的狀態。
我們的展覽一開始什麼也沒有,只寫下展覽名稱以及開幕茶會的時間,開幕茶會非常盛大,我們擺放了各式
各樣的茶水飲料及點心,在觀者開始享用茶點並懷疑作品到底擺放在哪裡,或是根本沒有加以懷疑的狀況下,
被錄影機跟相機記錄下來。開幕茶會結束後,隔天展覽正式開始,畫面上播放的是前一天大家吃東西交談的
模樣,因為這就是展覽的主軸。來看的觀者有生氣也有大笑的,我們想反應的就是這麼簡單的一件事情。
—We cannot be someone else but we are repeatedly becoming the others.
—我們永遠不能成為另一個人但我們卻不停的在成為他人
2008—2013 Art works from Yu Yen Lin