Revelation and Notification of Pey-Chwen Lin’s New Media Art “Eve Clone Series”林珮淳「夏娃克隆」新媒體藝術的啟示與警世

2023 Spotlight Taiwan Lecture







I will share the concept and the video of my solo exhibition “Revelation of Eve Clone” held at the Tainan Art Museum 2019- 2020, as well as my new work “Eve Clone Wannsee Conference” in the 2023 Spotlight Taiwan Lecture. The curator of my solo Dr. Ming Turner stated that 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 applied lots of digital techniques, she is actually being critical of the negative impact of technology on modern human society. Her works present insightful views and thoughts about the increasingly important contemporary cultural issues of gender, technology and art.

In my solo exhibition, alongside showcasing my “Portrait of Eve Clone” series, which was selected for the prestigious WRO Media Art Biennale in Poland, and the award-winning “Making of Eve Clone I” which received the first prize in the “New Media Art” category at the Florence Biennale in Italy, there is a special large-scale interactive installation titled “Big Image of Eve Clone.” This artwork presents the evolutionary process of “Eve Clone” and the symbiotic relationship between humans and their worship of “Eve Clone”. Another piece, “Making of Eve Clone II,” incorporates facial recognition and facial motion capture systems, inviting the audience to interact in real-time and showcasing how “Eve Clone” has advanced in learning human emotions and expressions with her artificial life. Due to this AI artwork, I initiate the new series for 2023 “Eve Clone Wannsee Conference.”

In this new series, I employ AI machine learning algorithms and 3D modelling software to create more realistic facial features for the “Eve Clones.” I synthesize the faces of these “Eve Clones” with portraits of influential figures from different eras and domains such as politics, technology, and culture, including individuals like Hitler, Putin, Bill Gates, and more. Simultaneously, through a speech recognition system, I convert the speeches of these individuals into corresponding facial expressions, creating these “Eve Clones” with different appearances and expressions who incessantly propagate their desires. Finally, these “Eve Clone” speech videos are installed within the same exhibition space, satirically depicting their attempt and actions in the “Wannsee Conference.”

“Making of Eve Clone III” is a large video mapping projection that incorporates texts from the biblical books of Daniel and Revelation, as well as the divine message proclaimed by the prophet Elijah Hong for this generation. 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 videos and the projected texts intersect and resonate with each other, making powerfully and significant revelations of biblical prophecy in the end times.

(Special thanks to Dr. Ming Turner, the curator of my solo exhibition at the Tainan Art Museum, and the members of my Digital Art Lab. Ching-Shiang Hu, Sheng-Chieh Wang, Bo-Wei Wu, Allen Wang)





About the Speaker

Pey-Chwen LIN, born in Taiwan in 1959, is the first Asian artist to receive the First Prize in the “New Media Art” category at the 2019 Florence Biennale in Italy, and was awarded the prestigious “Lorenzo Award.” She received a Doctorate of Creative Arts from the University of Wollongong in Australia in 1996 and served as a professor and director of the Graduate School of Multimedia and Animation Arts at the National Taiwan University of Arts. She is currently the director of the “Lin Pey-Chwen Digital Art Lab.”

After returning to Taiwan from the United States in 1989, Lin held her first exhibition at the “American Cultural Center” and joined the avant-garde art group “Apartment 2.” In 1998, she published the first book on Taiwanese women’s art titled “Women Art Discourse” and co-founded the “Taiwan Women’s Art Association” becoming one of the key advocates for women’s art in Taiwan. Since 2010, she has been promoting digital art research and exhibitions in Taiwan and published the first book on Taiwanese digital art, Taiwan Digital Art E Files. She is one of the pioneers of digital art in Taiwan and has been invited as a distinguished guest, moderator, and jury member for numerous domestic and international conferences and events.

Her works “Eve Clone” series have been exhibited at lots of major art exhibitions both domestically and internationally, her recent exhibitions including the Florence Biennale, Taipei Biennial, Taiwan Biennial, Poland International Media Art Biennale, France “Exit and Via” Art Festival, “Art Woman 2020” International Exhibition in Italy, “40 Years of Taiwanese Contemporary Art” Exhibition, “Asian Contemporary Women Artists” Exhibition, and Singapore International Art Fair. Her works have been researched and featured in internationally renowned English publications such as n.paradoxa International Feminist Art journal, East Asian Journal of Popular Culture, International Journal of Cultural and Creative Industries, Visual Culture Wars at the Borders of Contemporary China: Art, Design, Film, New Media and the Prospects of ‘Post-West’ Contemporaneity, Contemporary Art in Taiwan, Contemporary Installation Art in Taiwan, History of Contemporary Women Artists in Taiwan, Brief History of Art in Taiwan (the first English Taiwan Art History book published by the National Taiwan Museum of Fine Arts), A Guide to Contemporary Art in Taiwan—Artist Magazine 40 Years Edition, and honourable mentions in “American Ignite Global Women’s Museum”, “ADA Archive of Digital Art”, “Peripheral ARTeries Biennial” and the keynote speeches at the Australian “agIdeas International Conference”, “Linz Electronica Festival Hong Kong Garden” and “2023 Spotlight Taiwan Lecture” at the Edinburgh University and etc. In 2022, she was selected as one of the “Tatler Asia” Asia’s Most Influential Figures.



我將在此「Spotlight Taiwan Master Lecture」講座中分享我在2019至2020年於臺南市美術館舉辦的個展《夏娃克隆啟示錄》以及我2023年的新作《夏娃克隆萬湖會議》。「夏娃克隆啟示錄」個展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c儘管林珮淳的作品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,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。






亞洲首位榮獲2019年義大利佛羅倫斯雙年展「新媒體藝術類」全球首獎,獲頒「羅倫佐奬章」最高榮譽。林珮淳,1959 年出生於台灣,1996 年獲國立澳大利亞沃隆岡大學藝術創作博士,曾任國立台灣藝術大學多媒體動畫藝術研究所教授兼所長,現任「林珮淳數位藝術實驗室」主持人。1989年從美國歸國,於「美國文化中心」舉辦首展並受邀加入「2號公寓」當代前衞藝術團體。1998年出版第一本台灣女性藝術書籍《女藝論》,與重要女性藝術家家創立「台灣女性藝術協會」,成為台灣女性藝術重要推動者之一。於2010年起推動台灣數位藝術研究與系列展覽,出版第一本台灣數位藝術書籍《台灣數位藝術e檔案》,可謂台灣數位藝術先行者之一,也受邀擔任眾多國內外重專題演講貴賓、主持人、評審委員等。

作品《夏娃克隆系列》展於國內外重要藝術大展如: 義大利佛羅倫斯雙年展、台北雙年展、台灣雙年展、波蘭國際媒體雙年展、法國 Exit and Via 藝術節、義大利女性藝術Art Woman 2020國際展、40年台灣當代美術展、亞洲當代女性藝術展、登陸新加坡國際藝術博覽會、台北藝術博覽會等。作品被載列於國際知名英文出版的期刊與國內外書籍如: n.paradoxa International Feminist ArtEast Asian Journal of Popular CultureInternational Journal of Cultural and Creative IndustriesVisual Culture Wars at the Borders of Contemporary China: Art, Design, Film, New MediaThe Prospects of ‘Post-West’ Contemporaneity、《台灣當代美術》、《台灣當代裝置藝術》、《台灣當代女性藝術史》、《台灣當代美術大系》、國立臺灣美術館第一本英文臺灣美術史 Brief History of Art in Taiwan、《台灣當代美術通鑑—藝術家雜誌40年版》焦點作品、美國 Ignite 全球女性博物館專欄報導、國際數位藝術資料庫 ADA 專訪,國際藝術雙年刋 Pripheral ARTeries Biennial」專欄研究、澳大利亞agIdeas 國際研討會專題演講、愛丁堡大學臺灣光點大師講座等榮譽,2022年獲選為“Tatler Asia” 亞洲最具影響力人物之一等榮譽。