2025 林珮淳個展：夏娃克隆系列—林珮淳的AI伊甸園

2025 林珮淳個展：夏娃克隆系列—林珮淳的AI伊甸園

2025 Pey-Chwen Lin Solo Exhibition: Eve Clone Series — Lin Pey-Chwen’s AI Eden

展覽日期 Exhibition Dates:
2025.12.27 — 2026.02.08

策展人：石瑞仁
Curator: J. J. Shih

地點Venue:
桃園中原文創園區 14倉
Warehouse 14, Chung Yuan Cultural and Creative Park, Taoyuan

開幕記者會時間與地點
Opening Press Conference
Date & Time: January 2, 2026 (Fri), 2:00 PM

中原文創園區 13倉
https://share.google/IP8K5d1P6oHLHl6ug

座談會：石瑞仁、林珮淳、曾鈺涓
Symposium Panelists:
J. J. Shih, Pey-Chwen Lin, Yu-Chuan Tseng

展覽宣傳短片
Exhibition Trailer

策展論述
《夏娃克隆系列：林珮淳的 AI 伊甸園》
展覽策畫: 石瑞仁

前言
在人工智慧逐漸滲入日常的今日，我們的生活已不只是被科技環繞，而是與之共生。林珮淳長期以數位藝術探討「身體、記憶與空間」的交織，從早期《夏娃克隆》的基因寓言，到近年結合互動投影、AI生成影像的沉浸場域，她的作品始終提醒我們：科技文明的進步，既帶來希望，也暗藏危機。
林珮淳的歷年創作及展覽，不是在國際競賽場合征戰獲獎，就是在美術館殿堂隆重發表，因而不免給人

展覽內容
本次展覽構設，從拓展觀眾的感知模式和經驗為著眼，結合了入口室的儀式感、核心展的劇場氛圍、沉浸空間的多媒體體驗，以及AI新作的即時生成，旨在營造出一條「寓言之旅」的動線。讓觀眾既可以被宏大的影像所震撼，也能透過互動裝置留下自身的數位足跡，將藝術家的反思轉化為個人的感知經驗和生命體會。要之，這不僅是又一次科技藝術的展示，也希望是激發時代性思考和社會性對話的場域。
林珮淳的「夏娃克隆」創作系列，自千禧年後開始成形並不斷發展，二十多年年來，她以「科技寓言」為主軸的創作脈絡，透過本次展出的五大系列作品，即可見識其

  1. 夏娃克隆-人獸合體系列
  2. 夏娃克隆-大偶像系列
  3. 夏娃克隆-創造計畫系列
  4. 夏娃克隆-萬湖會議系列
  5. 夏娃克隆-巴別塔系列
    針對林珮淳這五套科藝創作和今年的兩件AI新作，策展者析理出了「以信仰為根、以科技為媒、以寓言為語、以批判為旨」這四條貫串其作品中的思想軸線，做為觀眾賞讀作品和體驗展覧的參考，以下分述之:
    一、以信仰為根：從創世記閱讀科技文明的倫理深度
    林珮淳的作品雖取材自基督教寓言，但創作的動機和目的並不是

三、以寓言為語：五大系列作品構成的科技寓言劇場
在當代科技媒體藝術家中，林珮淳最獨特的地方，是她擅用科技材料，進行漸進的藝術生產，讓作品前呼後應的延伸發展，將其價值信念不斷的推疊增強，從而逐年建構出了一整套完整的當代寓言系統。本次展出的五大系列作品，隱約也是一部科技寓言史：例如〈夏娃克隆–萬湖會議>系列，就是以當年納粹召開「萬湖會議」看似冠冕其實極惡的歷史場面，來隱喻和批判今日科技精英、跨國企業與強權大國如何在閉門會議中決定人類未來的新新戲碼。並藉此點出，科技的進步不是自然發生，而是權力勾串的結果。而〈夏娃克隆–巴別塔>系列，則是以巴別塔的典故象徵科技文明帶來的「語言幻覺」，點出人們在追求「共同語言」與「完全理解」時，反而可能導出自我羽主體崩毀的危機。顯然，林珮淳藉由古遠的神話和歷史寓言來呼應當代科技文明現象，動機不在於逃避現實，而是以之作為審視科技文明的歷史鏡面。
四、以批判為旨：文明在科技光影下的倫理盲點
林珮淳作品中無所不在的批判意識，其中的真義並不是

結語
觀眾步入中原文創園區14號倉庫，可穿梭於〈林珮淳的 AI 伊甸園〉六個場景，從〈夏娃克隆〉系列到 AI 新作，見證她如何以影像、光影與科技，探問當代人類正試圖以科技重塑身體、感知與記憶的種種邊界。
聖經中的夏娃由亞當肋骨所「複製」而生，象徵生命的原初創造；而林珮淳筆下的「夏娃克隆」，則象徵現代科技所製造的「擬態生命」——它們可以被增殖、運算、生成，卻無法擁有靈魂與道德自覺。這提醒我們：科技能複製形體，卻複製不了生命的本質。AI 所構築的「伊甸園」也因此只是功能性的幻象，沒有信仰、沒有情感，也不具備通往天堂的精神向度。
在此脈絡下，「AI 伊甸園」並非預言末日，而是一面照見人類的鏡子。聖經中另外兩個典故，雅各與天使摔角、以及雅各遇見的天梯，也為今日人類與 AI 的處境提供了深刻寓意：面對 AI，我們正處在一場激烈角力之中；科技既可能引向光明，也可能通往陰影，而真正決定方向的，是人類自己的選擇。
策展人的期待，是讓本展成為一個「雅各式的時刻」，讓觀眾在與科技角力的過程中，看見自身的渴望與限制，看見「AI 伊甸園」不只是警示，也是一盞明燈；不只是鏡子，而是一條道路；本展對於科技的反思，其實也指出了文明轉向的可能。

Eve Clone Series: Lin Pey-Chwen’s AI Eden

J. J. Shih/ Curator

Foreword

In today’s world, artificial intelligence is increasingly permeating our daily lives, people are no longer merely surrounded by technology but coexist with it. Lin Pey-Chwen has long been applying digital media arts to explore the intertwining of “body, memory, and space". From her early genetic allegory in “Eve Clone” Series to her recent immersive spaces combining interactive installations and AI-generated images, her works consistently remind us that the progress of technological civilization brings both hope and hidden dangers.
Lin’s works are often presented in prestigious venues—international competitions or major museums—naturally giving the impression of being avant-garde, conceptually dense, technologically complex, and perhaps intimidating for general audiences. As the year-end feature exhibition of Taoyuan’s Chung Yuan Cultural and Creative Park, “Eve Clone Series: Lin Pey-Chwen’s AI Eden” brings her the most representative works and newest pieces into a more accessible and lived-in cultural setting.

How to dissolve the “three barriers”—artistic, technological, and academic—so audiences can genuinely connect with the works is thus a central curatorial challenge. This exhibition aims to shift the “Eve Clone” narrative away from a distant doomsday allegory and reframe it as a series of questions directly relevant to contemporary life: When AI can generate memory, simulate the body, or construct space, How do we understand the self and the Other? How do we distinguish reality from fabrication? How do we grasp the present—and imagine the future?

The curatorial aspiration of this exhibition is that, within the Chung Yuan Cultural and Creative Park, a space close to civil society, the technological art and cultural allegory presented in the “Eve Clone" series will no longer be merely artistic warnings about a “doomsday future," but will transform into numerous questions that are relevant to the audience: When AI can generate memories, simulate bodies, and construct spaces, how can we still understand ourselves and others? How do we distinguish between reality and fiction? How do we grasp the present and the future…?

Exhibition Overview

The exhibition design expands the viewer’s sensory and experiential modes. Ritualistic entry, a theater-like core space, an immersive multimedia chamber, and newly created AI works construct a sequential “allegorical journey.” Viewers may be overwhelmed by monumental imagery but also leave their digital traces through interactive stations, turning the artist’s inquiries into personal experiences.

For over two decades, Lin’s Eve Clone series has grown into a comprehensive system of technological allegories. Five major series presented here reflect her ongoing evolution:
Eve Clone – Human-Beast Hybrids
Eve Clone – Great Image
Eve Clone – Creation Project
Eve Clone – Wannsee Conference
Eve Clone – Tower of Babel
Regarding Lin Pey-Chwen’s five sets of digital and technology creations and two new AI works this year, the curator has analyzed four ideological axes running through her works: “rooted in faith, mediated by technology, expressed through allegory, and aimed at critique," as a reference for viewers to appreciate the works and experience the exhibition. These are discussed below:
I. Rooted in Faith: Reading the Ethical Depth of Technological Civilization Through Genesis
Although Lin Pey-Chwen Lin’s works draw inspiration from Christian allegories, the motivation and purpose of her creation is not only “missionary work”, but also an intentional use of the mythological allegory of “Genesis" to examine the potential crises of technological civilization. For example, the “Making of Eve Clone” series directly focuses on the ethical contradiction of “recreating life": Eve’s body is disassembled, reconstructed, and proliferated by technology, symbolizing the intervention of human desires, which has destroyed the order and boundaries of sacred creation. On the other hand, the “Great Image of Eve Clone" series aims to present how technological civilization can mold itself into a “new idol" challenging heaven: this great idol is not an imitation of faith, but an allegory of civilization—humanity is cleverly using new technology to reenact the ancient and decadent drama of “idol making"!

Therefore, it can be said that “faith" in Lin Pey-Chwen’s work is a ray of light illuminating the world. She re-examines the power of technology through the context of faith, amplifying “creation," “body," and “ethics."

II. Mediated by Technology: Revealing the Illusions and Paradoxes of Technology
Lin Pey-Chwen excels at using technological materials to create a “reflexive" viewing experience, that is, using technological media to highlight and critique the blind spots of technology itself. The “Eve Clone – Human-Beast Hybrid" series, which began in 2010, is the most direct example: the female bodies in the images are blended into animal forms, feathered forms, or unrecognizable species; they are both human and non-human, both products of technology and projections of desire. These images, seemingly bizarre, reveal the reality of technological civilization: genetic coding, data collage, and AI generation and proliferation are blurring the lines between human and non-human.

In this exhibition, Lin Pey-Chwen’s newly unveiled AI works, Light and Shadow Body and AI Rebirth, further reveal that AI is no longer merely a software tool serving humanity, but has materialized into a self-generated, visible aesthetic. Pey-Chwen Lin’s AI-generated Eve, perfect in appearance yet devoid of soul, directly highlights the aesthetic dilemma of technological civilization—the more beautiful, the more void; the more lifelike, the more alien.
Similarly, Pey-Chwen Lin uses technology as a language to question technology, thereby guiding the audience from “captivating light and shadow" to “deep contemplation."

III. Expressed through Allegory: A Technological Fable Theater Composed of Five Series of Works

Among contemporary technology media artists, Pey-Chwen Lin’s most unique quality lies in her skillful use of technological materials to engage in gradual artistic production. Her works unfold in a cyclical and interconnected manner, continuously reinforcing her values ​​and beliefs, thus constructing a complete system of contemporary fables year after year. The five series of works exhibited here are, in effect, a history of technological fables. For example, the “Eve Clone Wannsee Conference" series uses the seemingly noble yet extremely malevolent historical scene of the Nazi “Wannsee Conference" to metaphorically criticize the new drama of how today’s technological elites, multinational corporations, and powerful nations decide the future of humanity in closed-door meetings. It also points out that technological progress is not a natural occurrence but the result of collusion of power. The “Eve Clone Babel" series uses the Tower of Babel as a symbol of the “language illusion" brought about by technological civilization, highlighting that in the pursuit of “common language" and “complete understanding," people may instead face the crisis of self-destruction. Clearly, Pey-Chwen Lin uses ancient myths and historical allegories to echo contemporary technological civilization phenomena. Her motivation is not escapism, but rather to use them as a historical mirror to examine technological civilization.

IV. Aimed at Critique: The Ethical Blind Spots of Civilization Under the Shadow of Technology
The pervasive critical consciousness in Pey-Chwen Lin’s works is not truly anti-technology, but rather a rejection of “humanity’s boundless desire for expansion." She doesn’t present the dangers of technology, but rather the arrogance of humanity amplified within the illusion of technology. For example, the enormous image of “Great Image of Eve Clone” symbolizes doubts about the self-deification led by technological civilization; “Human-Beast Hybrid" refers to the bodily anxiety after the disappearance of boundaries; “Wannsee Conference" points out the true power structure behind technological decision-making. In short, she attempts to stimulate viewers to think through technological art—is technology replacing morality? Is technology digesting ethics? Is technology recoding humanity? These questions are the core of her critique, not a prophecy of the end times.

Conclusion
As visitors move through the six spatial chapters of AI Eden, they encounter both the evolution of the “Eve Clone” series and the emergence of new AI-generated forms. The biblical Eve—created from Adam’s rib—symbolizes the origin of life. Lin’s “Eve Clone”, however, represent contemporary technogenesis: replicable, generable, and operable, yet devoid of soul and moral consciousness. Technology can replicate form but not essence. AI may construct an “Eden,” but it is only a functional illusion—an Eden without faith, without emotion, without transcendence.
Within this context, “AI Eden” is not only a prophecy of the end times, but also a mirror reflecting humanity. Two other biblical anecdotes—Jacob’s wrestling with the angels and the ladder he encountered—offer profound implications for humanity’s current predicament with AI: we are engaged in a fierce struggle against AI; technology can lead to either light or shadow, and ultimately, humanity’s own choices determine the direction.
The hope of this exhibition is to create a “Jacob moment”— a space where viewers recognize their desires and limits, see AI Eden not only as warning but as light; not only as mirror but as path; and confront, with clarity, the possibility of a new direction for human civilization.

個展開幕 Opening

媒體報導
林珮淳打造科技寓言場域 「AI伊甸園」桃園中原文創園區登場，曹佳榮，2026/01/02 來源：經濟日報

https://money.udn.com/money/story/5637/9241301

「夏娃克隆系列：林珮淳的AI伊甸園」展出以科技寓言為主軸的創作，記者周敏鴻，2026/01/02 來源：自由時報電子報

https://share.google/YzTD84F9LRKITfuQY

林珮淳「夏娃克隆」展 蘇俊賓：深化桃園科技藝術能量，記者鄭國樑，2026-01-02 來源：聯合新聞網
https://share.google/R8P5QmRMnX5snANvH
「夏娃克隆展」中原文創園區開幕 展現高品質科技藝術專業實力，記者彭慧婉 來源：PChome Online 新聞
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「夏娃克隆系列：林珮淳的AI伊甸園」展出以科技寓言為主軸的創作，周敏鴻，2026年1月2日 來源：Yahoo News
https://share.google?link=https://tw.news.yahoo.com/%25E5%25A4%258F%25E5%25A8%2583%25E5%2585%258B%25E9%259A%2586%25E7%25B3%25BB%25E5%2588%2597-%25E6%259E%2597%25E7%258F%25AE%25E6%25B7%25B3%25E7%259A%2584ai%25E4%25BC%258A%25E7%2594%25B8%25E5%259C%2592-%25E5%25B1%2595%25E5%2587%25BA%25E4%25BB%25A5%25E7%25A7%2591%25E6%258A%2580%25E5%25AF%2593%25E8%25A8%2580%25E7%2582%25BA%25E4%25B8%25BB%25E8%25BB%25B8%25E7%259A%2584%25E5%2589%25B5%25E4%25BD%259C-082118517.html&utm_campaign=share-sdl-iga-3p&utm_source=igadl,igatpdl,sh/x/gs/m2/5

【夏娃克隆系列－－林珮淳的AI伊甸園】展期日期：2025-12-27 ~ 2026-02-08，地點中原文創園區 14倉 來源：非池中藝術網
https://share.google/AOUoX1pIYesZlRqYm

林珮淳「夏娃克隆」展 蘇俊賓：深化桃園科技藝術能量，記者鄭國樑，2026-01-02 來源：經濟日報
https://share.google/SEkk5iKETO3fmhgTs

《夏娃克隆系列：林珮淳的 AI 伊甸園》從「感覺」出發，整個展覽像是一趟寓言式的旅程。來源：桃園市政府文化局
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AI結合聖經創世故事 藝術家林珮淳個展開幕，si Aitan（邱依婷）、Kawa（施俊銘）來源：TITV News 原視新聞網
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多媒體媒材+AI生成影像 沉浸式體驗藝術展【客家新聞20260102】

「夏娃克隆系列 林珮淳的AI伊甸園」前導宣傳片，iegoart.com藝高文創