Solo Exhibition(個展)

夏娃克隆啟示錄一林珮淳+數位藝術實驗室創作展

藝術家｜林珮淳
策展人｜陳明惠
展覽時間｜ 2020/9/10 (Thu – 2020/12/13 Sun)
開幕｜ 2020/9/10 (2pm)
地點｜臺南市美術館二館展覽室K – 展覽室L
主辦單位｜臺南市美術館
特別感謝｜B.B.ART、藝數網、西米創意設計有限公司、胡縉祥、王聖傑

Revelation of Eve Clone : Lin Pey-Chwen Digital Art Lab Exhibition

Artist ｜Pey-Chwen Lin
Curator ｜Ming Turner
Place｜Gallery K – Gallery L, Tainan Art Museum Building 2
Organizer｜ Tainan Art Museum
Special Thanks to B.B.ART, Yiiisu Co., Ltd., Cmie Design, Chin-Hsiang Hu, Sheng-Chieh Wang

展覽座談會Exhibition Forum

夏娃克隆啟示錄-林珮淳+數位藝術實驗室創作展展覽專題座談會
https://www.tnam.museum/event/detail/203

主題：林珮淳「夏娃克隆」創作中的性別與科技議題
日期：11/7(六)
時間：14:00-15:30
地點：台南市美術館2館1樓大導覽室
與談人:
蕭瓊瑞國立成功大學歷史系名譽教授
陳明惠國立成功大學創意產業設計研究所副教授
林珮淳本展藝術家

主題：從林珮淳「夏娃克隆」談數位時代跨時空物種的藝術想像
日期：12/6(日)
時間：14:00-15:30
地點：台南市美術館2館1樓大導覽室
與談人:
黃海鳴國立臺北教育大學藝術與造型設計學系兼任教授
陳蕉國立臺南藝術大學造型藝術研究所副教授兼任所長
林珮淳本展藝術家

林珮淳：書寫一部賽伯格演化寓言集
https://artouch.com/views/exhibition/content-28586.html

陳明惠/策展論述

九月十日～十二月十三日將展於台南美術館的「夏娃克隆啟示錄－林珮淳＋數位藝術實驗室創作展」，特別邀請林珮淳於2019年榮獲義大利佛羅倫斯雙年展新媒體藝術類全球首獎的作品《夏娃克隆創造計劃I》，以及獲選於國際知名波蘭WRO新媒體藝術雙年展的《夏娃克隆肖像》系列作品。

另外，林珮淳也將帶領她實驗室傑出藝術家胡縉祥與王聖傑發表最新的幾件互動創作，如《夏娃克隆創造計劃II》互動裝置，以臉部辨識系統作即時與民眾互動，作品截取了《夏娃克隆創造計劃I》作品中「夏娃克隆」與「維特魯威人」臉部合體之黑白網格影像，藉由觀眾的參與來學習人類的臉部表情，敘述了「夏娃克隆」已進階學習人類的情感與表情。另一件《夏娃豆隆大偶像》則一曲面投影呈現夏娃克隆的演化過程，討論了夏娃克隆的複製性、互動性以及與人類共生在同一時空的時間性（Time Code）。另一件《夏娃克隆創造計劃III》則是林珮淳將她一直引用的聖經《但以理書》與《啟示錄》章節，以及列國先知洪以利亞向這世代所宣佈的神國文告，做為整個空間投影的文本，以數位影像溶接科技將文字充滿投影在整個空間內，創造一種視聽張力的大型空間投影裝置，宣告了文字內容的重大啟示與預言。

策展人陳明惠博士指出：
林珮淳從2006年開始創作《夏娃克隆系列》，而其所創作出的「夏娃克隆」是象徵林珮淳對於後人類(尤其是女體)的想像與詮釋。夏娃克隆不僅呈現女性特質，更帶有宗教的象徵，儘管林珮淳的作品仰賴大量科技、數位技術而創造出來，藝術家其實反諷、批評科技帶給人們社會負面的影響。「夏娃克隆」雖然帶有生理女性之基本生物特徵，但她是一種自然與人工結合之賽伯格。完美無瑕且毫無體毛之夏娃，是藝術家創造出的一種烏托邦式的女體：似真似假、介於有機與無機之間的身體。林珮淳《夏娃克隆肖像系列》以3D 動態全像攝影的技術，將夏娃的頭像與多種禽獸的形象結合，再賦予不同礦物之色澤與質感 (金、銀、銅、鐵、泥)，藉此，林珮淳在反諷科技帶給人類之潛藏危害，且挑釁社會對於女性身體之牽制與束縛。

《大巴比倫城》(2015)錄像作品裡的夏娃克隆置身於紐約帝國大廈，以俯瞰的姿態俯視人間的私慾與罪惡。2016年林珮淳創作《夏娃克隆創造計畫I》結合夏娃克隆及達文西手繪的男性人體素描及手稿，並以聖經《但以理書》與《啟示錄》章節取代達文西鏡像文字內容，也刻意保留電腦3D軟體、網格、攝影機等icon圖案，創造出一種結合數位感及手繪稿之特殊質感，並且透過夏娃克隆與達文西的男體素描稿不斷地交互自轉，產生一種跨時空、跨媒材、跨場域的結合與對話，作品亦呼應雌雄同體的概念。《夏娃克隆創造計劃VP/1-6》與《夏娃克隆創造計劃BP/1-6》，將《夏娃克隆創造計畫I》的作品截圖搭配聖經章節文字，使作品產生一種宣示意味。林珮淳更將聖經語錄以「宣言」般之形式，放大投影充斥於展間，以視覺上極大張力轉換成精神之昇華。

林珮淳創作中的夏娃克隆呈現一種交雜在人類與非人類之間的焦慮感及不確定性，這種交雜生物性與科技性的混合體根據數位女性主義學者唐娜．哈洛威(Donna Haraway)的觀點，是一種「機械有機體，介於機器與有機體之間，它是介於科幻小說與社會實體之間的生物體。」

「夏娃克隆啟示錄一林珮淳+數位藝術實驗室創作展」將展出林珮淳近年來《夏娃克隆系列》重要代表作品，包含錄像裝置、多媒體互動藝術、全像攝影、複合媒材作品，對於當代「性別、科技與藝術」重要文化議題，提出精湛的觀點與思考。

Pey-Chwen Lin began her “Eve Clone” series in 2006, introducing a sequence of artworks that convey the artist’s imagination and interpretation of the posthuman, and especially that of posthuman female bodies. This series conveys both femininity and religious symbolism. Although the creation of Lin’s works relies heavily on technology and digital techniques, she is actually being critical of the negative impact of technology on modern human society. Although the Eve Clone exemplifies the basic biological features of a female body, she is a cyborg, and is thus composed of both natural and artificial parts. Here, Eve is flawless and without body hair, presenting a utopian female body created by the artist, a body that is both real and fake, organic and inorganic. In “The Portrait of Eve Clone”, Lin has used 3D animated holograms to join Eve’s head with various images of beasts, to which she then added different minerals, colors and textures (gold, silver, copper, iron, and clay). Lin’s works are satirizing the hidden dangers that technology has brought to mankind, confronting the social constraints and confinements which have long been imposed on the female body.

In the video installation, “Great Babylon” (2015), Eve Clone appears at the Empire State Building in New York City, where she looks over the human world, at their sins and their desires. In 2016, Lin created “Making of Eve Clone I”, which combined Eve Clone with Da Vinci’s male body sketches and manuscripts. She also replaced Da Vinci’s mirror image text with Bible passages from the Book of Daniel and the Book of Revelation. She deliberately retained the icons and logos from the 3D computer software, grids, and cameras, to create a unique texture that is both digital and hand-drawn. The intertwining juxtaposition and rotation of Eve Clone and Da Vinci’s drawing, Vitruvian Man, also creates an integrated image and a dialogue that is cross-temporal, cross-media, and cross-spatial, while further resonating with the concept of androgyny. In “Making of Eve Clone VP/1-6” and “Making of Eve Clone BP/1-6”, screenshots of artworks from “Making of Eve Clone I” were combined with biblical verses to express a sense of revelation. Lin further used biblical quotations in the form of a manifesto, and projected these words throughout the exhibition room, transforming the enormous visual tension into some kind of spiritual elevation.

The Eve Clone in Lin’s artwork expresses a sense of anxiety and uncertainty that is intertwined between humans and non-humans. According to digital feminist scholar, Donna Haraway, this hybrid, made of a combination of biological and technological features, is “a cybernetic organism, a hybrid of machine and organism, a creature of social reality as well as a creature of fiction.” The “Revelation of Eve Clone – Pey-Chwen Lin + Digital Art” exhibition showcases the most representative works from the Eve Clone series of recent years, including video installations, multimedia interactive art, holographic photography, and mixed-media works. Her works present insightful views and thoughts about the increasingly important contemporary cultural issues of gender, technology and art.

夏娃克隆肖像

媒材: 3D動畫、動態全像、壓克力鋁框、聚光燈
尺寸: 57cm x 45cm x 3cm
年代: 2010~
《夏娃克隆肖像》是林珮淳以「無插電」卻可與民眾互動的「動態全像」(Hologram) 創造出無比魅影的系列作品，在聚光燈投射下「活現」出迷人的眼神與姿態(沒有光線就看不到)。以3D動畫形塑與刻畫出不同臉部顏色、皮層質感、眼神與姿態，且額頭上特別印有不同語言的「666」符號。「666」在聖經《啟示錄》中是控制人類的的獸印 (啟示錄 13:16-18)，象徵人類所創造的誘人科技產物反而成了控制人類的危害，藉此反思人類以科技挑戰神的原創終將面臨被科技反撲的命運。

Portrait of Eve Clone

Media: 3D Animation, Moving Hologram, Acrylic Frame, and Spotlight
Size: 57cm x 45cm x 3cm
Year: 2010 ~
In “Portrait of Eve Clone”, Pey-Chwen Lin uses 3D animated holograms in an unplugged style to interact with the viewers. Eve Clone is alive under the spotlight, showing her charming gaze and posture, while without any lighting, she becomes invisible. The 3D animation depicts and presents the different colors of her face, the skin textures, the expression in her eyes and her postures. Printed on Eve Clone’s forehead in different languages is 666, the Number of the Beast, as introduced in the Bible in the Book of Revelation (13:16-18). 666, as the beast imprints that control mankind is a symbol of the harmful technological inventions that have seduced and controlled humans. With this artwork, the artist reflects upon the relationship between humans and technology — we have used technology to challenge the origin of God’s creation, but eventually technology will produce negative impacts to mankind and we will be forced to bear the consequences.

https://linpeychwen.com/%E5%A4%8F%E5%A8%83%E5%85%8B%E9%9A%86%E8%82%96%E5%83%8F/

夏娃克隆的創造計畫 I

媒材: 大型投影裝置、數位影音、3D動畫、多媒體播放器、投影機、音響
尺寸: 依場地而定
年代: 2016
時間: 9:00
《夏娃克隆創造計劃I》是挪用達文西名作《維特魯威人》來對照「夏娃克隆」之身體比例，再現科技父權企圖創造具完美黃金比例的「夏娃克隆」身體，以及將達文西以正方與圓形隠喻「人類乃天地之中心」之企圖心，指涉「夏娃克隆」即為人類以科技挑戰創造主之慾望產物。影片中，林珮淳重現創造「夏娃克隆」的過程，將原始草稿與「維持魯威人」作精準對位，在360度自轉中逐步𨍭換成電腦網格、仿人的皮層、帶有獸與蛹紋路的仿金屬皮層、仿全像的綠光皮層等，最後形成一尊如聖經《但以理書》預表驕傲的「人國大偶像」：金頭、銀身、銅腹、鐵腿、半鐵半泥腳。
因着3D錯視效果，「夏娃克隆」彷彿從達文西的手稿浮現成立體的3D身體，再配合音效表現一種神秘與詭譎感。影片中段，特別呈現「夏娃克隆」如何在電腦三度空間內被檢視，如放大、縮小、翻轉等，也刻意保留電腦介面、鏡頭符號、icon、時間軸等，將這種3D動畫的製作過程轉譯成創造「夏娃克隆」的過程與觀念。另外，原達文西的鏡像文字也被巧妙地更換成以「達文西鏡像字體」呈現的聖經章節，定義了「夏娃克隆」的身份與命運，多層次呈現了「維特魯威人」與「夏娃克隆」的平面手稿與立體電腦3D動畫的視覺對照；黃金比例的男女形體的對位，聖經章節與符號的指涉性，以及達文西與林珮淳在兩種不同時空、媒材、性別與創造慾望下所創造的「維特魯威人」與「夏娃克隆」之間的對照與對立關係。

Making of Eve Clone I

Media: Large-scale Projection Installation, Digital Images and Sound, 3D Animation, Media Player, Projector, and Stereo Sound
Dimensions: Depends on exhibition site
Year: 2016
Length: 9’00″
In the video “Making of Eve Clone I”, Pey-Chwen Lin appropriates the drawing of Vitruvian Man by Leonardo Da Vinci, re-presenting how technological patriarchy attempts to create the body of Eve Clone with the ideal human physique. By referring to Da Vinci’s aspiration to associate man, through the circle and the square, as the center of the universe, the artist reveals that Eve Clone is the product of the human desire to challenge God’s Creation. In the video, Lin also traces back the making of Eve Clone by precisely overlaying her original drawings and the Vitruvian Man, combining the two images into one. As the body image rotates through 360 degrees, it transforms into a body made of wireframes, and then gradually into bodies with a human-like skin, a metallic skin with animal and chrysalis traces, a holograph-like skin with green illumination, and finally, a body depicting the Great Image from The Book of Daniel, with a golden head, a silver body, a bronze belly, iron legs, and feet that are partly made of iron and partly of clay.
Due to 3D visual illusion, Eve Clone seems to be emerging from Da Vinci’s manuscript into a three-dimensional body. The combination with sound effects creates a sense of mystery and strangeness. In the middle of the video, the artist specifically presents how Eve Clone is examined in the 3D computer space, such as enlarging, shrinking, and rotating through different angles. The computer interface, camera symbols, icons, and timelines are also intentionally preserved to highlight the approach and concept of translating the 3D digitalization process into the making of Eve Clone. In addition, the mirrored writing of Da Vinci’s work has been intricately replaced by Bible verses, which helps to define the destiny and identity of Eve Clone. The artist has offered multi-faceted comparisons and juxtapositions of the Vitruvian Man and Eve Clone: the visual contrast between the graphic manuscripts of the Vitruvian Man and the 3D digital animation of Eve Clone; the overlapping male and female bodies of ideal proportions; the reference of symbols and Bible scriptures. Furthermore, it is possible to compare how de Vinci and Lin, as male and female artists, respectively, created the Vitruvian Man and Eve Clone in a different time and space, with different media, and through their own creative desires.

https://linpeychwen.com/%E5%A4%8F%E5%A8%83%E5%85%8B%E9%9A%86%E7%9A%84%E5%89%B5%E9%80%A0%E8%A8%88%E5%8A%83-i/

夏娃克隆大偶像

媒材: 大型投影互動裝置、數位影音、3D動畫、互動系統、感應系統、3D列印立體物件、電腦、投影機、音響
尺寸: 依場地而定
年代: 2020
《夏娃克隆創造計劃I》完成之後，以《夏娃克隆大偶像》互動裝置進一步討論人類與「夏娃克隆」之關係，即人類付予「夏娃克隆」生命，猶如人類造創的Al人工生命科技。一尊尊排列成曲面投影的「夏娃克隆」形體，從草圖、網格、金屬皮層逐漸形成一尊如聖經《但以理書》預表驕傲的「人國大偶像」：金頭、銀身、銅腹、鐵腿、半鐵半泥腳，而每一形體如低頭彎曲之胎兒作360度作自轉的孕育與培養。當現場沒有觀眾時，「夏娃克隆」影像如素描的灰階色調且停止不動，等觀眾進入場域後，「夏娃克隆」立即依序演變成彩色且緩慢自轉，這是表達人類付予「夏娃克隆」生命的第一層次。第二層次所表達的生命值是她頭部上方快速跳動的時間數字（Time Code)，它代表了當下的時間且與人類同時空存在，而每一尊「夏娃克隆」影像與時間數字生命值都以電腦延遲（Delay）程式每3秒作自我的複製。另，每尊的影像下方呈現聖經《但以理書》與《啟示錄》章節文字，以不同語言隨機出現，定義了「夏娃克隆」的身份與命運。另外，為了表達人類對科技之追崇，特別將「夏娃克隆」頭部以3D列印作立體金頭偶像，因著觀眾舉手觸控她額頭的「666」數字時，「夏娃克隆」影像會轉化成大偶像形體且抬頭擺動，表達「夏娃克隆」被人類崇拜，也因著與人類交媾而更加活躍與生動。

Great Image of Eve Clone

Media: Large-scale Projection Installation, Digital Image and Sound, 3D Animation, Interactive System, Sensor System, 3D Printing Object, Computer, Projector, and Stereo Sound
Dimensions: Depends on exhibition site
Year: 2020
After Pey-Chwen Lin completed the “Making of Eve Clone I”, she created an interactive installation, the “Great Image of Eve Clone”, to further explore the relationship between humans and Eve Clone — the way a human gave life to Eve Clone is similar to how humans have created artificial intelligence or artificial life technologies. Numerous Eve Clone bodies are arranged in curved projections. The bodies, beginning with sketches, computer grids, and metallic-colored skin, then gradually transform into the “Great Image” from The Book of Daniel in the Bible, with a golden head, a silver body, a bronze belly, iron legs, and feet that are partly made of iron and partly of clay. Each body is curled up like a fetus with a bowed head, rotating through 360 degrees during its cultivation and gestation. When there is no audience on site, the images of Eve Clone appear in grey tones and are static, but once the audience members begin to enter the exhibition room, Eve Clone gradually becomes colorful and rotates slowly, which connotes how humans give life to Eve Clone. Above the head of Eve Clone are time codes, which are rapidly changing numbers that signify how time and human beings co-exist in the same time and space. Each Eve Clone image, with its time code, self-replicates at a 3-second interval using delay programming. In addition, selected verses in different languages from the Book of Daniel and the Book of Revelation appear randomly on the soles of its feet, reinforcing Eve Clone’s identity and destiny. To highlight how humans pursue and worship technology, the artist has intentionally created a golden Eve Clone head with 3D-printing. When viewers touch 666, the Number of the Beast, on her forehead, the grand image of Eve Clone transforms into a great image with a moving head and body, showing how she is worshipped by humans. The act of touching also refers to adultery with humans, thus giving her life and making her more lively and more vigorous.

夏娃克隆創造計畫BP／1-6，VP/1-6

媒材: 數位版畫、3D 數位動畫、手繪、鋁板
尺寸: 42cm x 29.7 cm x 2cm each
尺寸: 105×74.6cmX2cm each
年代: 2020
《夏娃克隆創造計畫BP／1-6》系列是從《夏娃克隆創造計劃I》影片中截取六個不同角度的「夏娃克隆」網格身體圖像，並對照聖經《啟示錄》中有關「巴比倫女人」的章節。《夏娃克隆創造計劃VP/1-6》系列也是從《夏娃克隆創造計畫I》影片中截取六個不同角度的「夏娃克隆」身體圖像，並對照聖經《但以理書》中有關「大偶像」的章節。主要強調了「夏娃克隆」在電腦數位空間被創造的原型，作品上下端刻意保留電腦軟體的標記與icon，也以如海報標題般的強而有力的黑粗體字形來清楚指出「夏娃克隆」的身份與定義，以及以金屬鋁版作載體再現電腦螢幕的反光效果，最後以數字、圖案、符號等手繪的特質，展現多層次的象徵意義與語彙。

Making of Eve Clone BP/1-6 and VP/1-6

Media: Digital Print, 3D Animation, Hand Drawing, Aluminum Plate
Size: 42 x 29.7cm x 2cm each
Size: 105×74.6cmX2cm each
Year: 2020
In “Making of Eve Clone BP/1-6”, the artist selected six different body angles from Eve Clone’s grid body in “Making of Eve Clone I”, and aligned these with Biblical verses concerning “the Whore of Babylon” from The Book of Revelation. “Making of Eve Clone VP/1-6” also extracted six different body angles of Eve Clone, and features the scriptures about the “Great Image” from The Book of Daniel in the Bible. The images are meant to highlight the prototype of Eve Clone which was created in a computer’s digital space. The artist has deliberately retained the computer software logos and icons on the upper and lower areas of the prints, and has also used black and bold fonts, similar to poster titles, to clearly indicate the identity and meaning of Eve Clone. The aluminum plate serves as a medium with which to re-produce the glares and reflections of computer screens. Finally, the numbers, icons, and symbols with hand-drawn features, convey symbolic meanings and vocabularies that are truly multi-faceted.

https://linpeychwen.com/making-of-eve-clone-bp-1-6/
https://linpeychwen.com/making-of-eve-clone-vp-1-6/

夏娃克隆的創造計畫 II

媒材: 互動裝置、3D動畫、臉部辨識系統、手機、螢幕
尺寸: 依場地而定
年代: 2020
《夏娃克隆創造計劃II》互動裝置是截取了《夏娃克隆創造計劃I》作品中「夏娃克隆」與「維特魯威人」臉部合體之黑白網格影像，藉由觀眾的參與來學習人類的臉部表情。觀眾遠看作品如平面版畫，近看才發現「夏娃克隆」臉部是凸出的立體3D 造型且會一直的眨眼誘導觀眾。當觀眾站在手機前會驚訝地發現「夏娃克隆」臉部影像居然和自己在手機螢幕前的表情一模一樣，彷彿「夏娃克隆」正在進行模仿人類、學習人類、複製人類情感的實驗過程中。這是林珮淳從《夏娃克隆創造計劃I》對「夏娃克隆」的身體尺寸及皮層的創造，到《夏娃克隆創造計劃II》企圖模仿人類臉部表情與情感的進階計畫，再現科技發展複製人類的Al人工生命與情感的慾望。

Making of Eve Clone II

Media: Interactive Installation, 3D Animation, Facial Recognition System, Mobile Phone, and Screen
Dimensions: Depends on exhibition site
Year: 2020
“Making of Eve Clone II” extracts a black-and-white grid image of the merged faces of Eve Clone and the Vitruvian Man from “Making of Eve Clone I”. This interactive installation learns to mimic human facial expressions through audience participation. From a distance, the artwork resembles a 2D print, but after getting closer, one discovers that the face of Eve Clone is a protruding three-dimensional shape, with her eyes blinking constantly to entice the audience. When viewers stand in front of the mobile phone, they will be surprised to find that the facial expression of Eve Clone is exactly the same as their own expression on the mobile phone screen, as if Eve Clone is undertaking an experimental process of imitating humans, learning from humans, and replicating human emotions. While “Making of Eve Clone I” represents how Lin created the body size and skin cortex of Eve Clone, “Making of Eve Clone II” is an advanced project that attempts to imitate human facial expressions and emotions, re-presenting how technology possesses the desire to create artificial life and an artificial intelligence with emotions.

https://linpeychwen.com/%E5%A4%8F%E5%A8%83%E5%85%8B%E9%9A%86%E5%89%B5%E9%80%A0%E8%A8%88%E7%95%ABii/

夏娃克隆的創造計畫 III

媒材: 大型映射投影裝置、數位影音、3D動畫、電腦、投影機、螢幕、音響
尺寸: 依場地而定
年代: 2020
《夏娃克隆創造計劃III》是林珮淳將她一直引用的聖經《但以理書》與《啟示錄》章節，以及列國先知洪以利亞向這世代所宣佈的神國文告做為整個空間投影的文本，以數位影像溶接科技將文字充斥在整個空間內，大而粗黑的字體影片緩緩向外流動，並逐漸擴大且發出放射光影光，配上帶有神聖的數位背景音樂，一種超越畫框的沉浸式空間衍然成形，形塑出一種無可抗拒的張力，最後將《大巴倫城》與《夏娃克隆啟示錄IV》影片以螢幕載體放置在空間內，影片情節與投影文字相互交曡與呼應，強而有力的宣告出聖經預言與神國文告的重大啟示。

Making of Eve Clone III

Media: Large-scale Projection Installation, Digital Image and Sound, 3D Animation, Computer, Projector, Screen, and Stereo
Dimensions: Depends on exhibition site
Year: 2020
In “Making of Eve Clone III”, Lin Pey-Chwen continued to select scriptures from the Book of Daniel and Book of Revelation in the Bible, and also included the Proclamation of God’s Kingdom by the Prophet, Elijah Hong. These texts are projected throughout the entire exhibition space, which was made possible by the use of mesh wrapping and perspective technology for digital images. Videos featuring large, bold fonts slowly flow outwards, gradually expanding, and then they start to emit light. With digital spiritual music in the background, the artist creates a kind of immersive space that transcends the print frames, forming an irresistible tension. Finally, the videos “Great Babylon” and “Revelation of Eve Clone IV” have been carried by the screen monitors and installed in the space. The plot of the films and the projected texts intersect and resonate with each other, making a powerful statement about the important revelation of the Bible prophecy and the Proclamation of God’s Kingdom.

https://linpeychwen.com/%E5%A4%8F%E5%A8%83%E5%85%8B%E9%9A%86%E5%89%B5%E9%80%A0%E8%A8%88%E7%95%ABiii/

草圖Sketches

與實驗室藝術家胡縉祥、王聖傑工作
Working with lab artists

開幕Opening

媒體報導

看見過去與未來的複製品南美館展出「不平均的平面」版畫展與林珮淳「夏娃克隆啟示錄」
https://www.anxiou-vanguard-8.com/index.php/focuspage/5f5a3d6221b18

林珮淳數位藝術「夏娃克隆啟示錄」展出
http://www.taiwantimes.com.tw/ncon.php?num=127751page=ncon.php

看見過去與未來複製品南美館：「不均的平面」版畫展×林珮淳「夏娃克隆啟示錄」/中華海峽傳媒于郁金/連凱婓
http://www.ccsn0405.com/2020/09/blog-post_453.html

新浪新聞 https://news.sina.com.tw/article/20200910/36302796.html

看見過去與未來的複製品南美館展出「不均的平面」版畫展與林珮淳「夏娃克隆啟示錄」/焦點時報社蔡宗武
https://focus.586.com.tw/2020/09/10/p144977/

南美館展出「不均的平面」版畫展與林珮淳「夏娃克隆啟示錄」/焦點傳媒社張淑慧
https://news.586.com.tw/2020/09/363426/

PChome新聞 https://news.pchome.com.tw/sport/greatnews/20200910/index-59972732582787209007.html

蕃薯藤 http://n.yam.com/Article/20200910643360

新浪新聞 https://news.sina.com.tw/article/20200910/36303294.html

PChome新聞 https://news.pchome.com.tw/sport/greatnews/20200910/index-59973092249134209007.html

南美館展出「不均的平面」版畫展與林珮淳「夏娃克隆啟示錄」/大成報杜忠聰
http://www.greatnews.com.tw/home/news_pagein.php?iType=1003&n_id=218325

南美館展出「不均的平面」版畫展與林珮淳「夏娃克隆啟示錄」/勁報杜忠聰
http://www.twpowernews.com/home/news_pagein.php?iType=1003&n_id=187650

不均的平面版畫展×林珮淳「夏娃克隆啟示錄」南美館登場/勁報于郁金連凱斐
http://www.twpowernews.com/home/news_pagein.php?iType=1003&n_id=187632

南美館展出「不均的平面」版畫展與林珮淳「夏娃克隆啟示錄」/經濟日報莊智強
https://money.udn.com/money/story/5635/4850442

林珮淳互動式數位藝術展南美館登場 https://money.udn.com/money/story/5635/4883194

【數位 x 藝術】夏娃克隆啟示錄一林珮淳+數位藝術實驗室創作展｜TDRwatch
https://blog.tiandiren.tw/archives/68491

台南行事曆臺南市美術館夏娃克隆啟示錄一林珮淳+數位藝術實驗室創作展 Revelation of Eve Clone : Lin Pey-Chwen Digital Art Lab Exhibition https://art.turn.tw/events/1284

本校多媒體動畫藝術學系已退休林珮淳老師於臺南市美術館辦理個展 http://portal5.ntua.edu.tw/msgn/news/news_d1.aspx?NUM=E42020200914021

夏娃克隆啟示錄一林珮淳+數位藝術實驗室創作展 https://atatw.org/?p=2690

臺南市美術館
【夏娃克隆啟示錄】林珮淳+數位藝術實驗室創作展 https://artemperor.tw/tidbits/10281

【臺南】夏娃克隆啟示錄一林珮淳+數位藝術實驗室創作展 https://www.digiarts.org.tw/DigiArts/NewsPage/177782442154000/Chi

以科技諷科技林珮淳國際首獎作品南美館展出 https://ent.ltn.com.tw/news/paper/1399870

夏娃克隆啟示錄
林珮淳＋數位藝術實驗室創作展 http://www.artist-magazine.com/edcontent_d.php?lang=tw&tb=9&id=11834

夏娃克隆啟示錄一林珮淳+數位藝術實驗室創作展 Revelation of Eve Clone : Lin Pey-Chwen Digital Art Lab Exhibition https://www.tnam.museum/exhibition/detail/183

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身體宣言-林珮淳個展，大象藝術空間館，台中，台灣

林珮淳近年來結合夏娃克隆及達文西手繪人體素描及手稿，創造出一種結合數位性及手繪稿之特殊質感的錄像、平面複合媒材與擴增實境(AR)作品。
《身體宣言：林珮淳個展》將完整呈現林珮淳近年來的代表作與重要文件。

策展人｜陳明惠
展覽時間｜ 2020/1/18-3/8
開幕座談｜ 2/1 (六) 15:00
與談嘉賓｜白適銘、曾鈺涓、林珮淳、陳明惠

2020 Body Manifestation : Pey-Chwen Lin Solo Exhibition
Body Manifestation : Pey-Chwen Lin Solo Exhibition”, Da Xiang Art Space, Taichung, Taiwan

Curator ｜ Dr. Ming Turner
Exhibition time ｜ 2020/1/18-3/8
Opening Symposium ｜ 2/1 (Saturday) 15:00
Panel Discussion ｜ Dr. Andrew Pai, Dr. Jane Tseng, Dr.Pey-Chwen Lin. Dr. Ming Turner