'Tomb of Human Cloning'
Lin Jun-Liang solo exhibition
Lin Jun-Liang solo exhibition
When I began to understand: machines were invented to replace humans in the conducting of repetitive tasks. As a result, we label these machines as “extensions of the human body.” Regardless of machine or human body, in the midst of repetitive labor, the values of different points in time are mistakenly thought to be equal. The fact that time actually has unique and independent features is forgotten. Even so, this misunderstanding and overlooking do not influence the results of the repetitive task because of the “time prosthetic” significance brought by the similarity of objects. When I view the repeated act as a type of scientific replication, it becomes as illusory as cloning humans - there are no limits. After replicating many of the same results though, everything becomes too similar and, thus, loses a sense of uniqueness. They simply become an accumulating number, changing into something forsaken and abandoned. No longer important, they pile up like corpses at a cemetery.
I want to retain a situation, a psychological situation. Amongst this, thoughts, emotions, and vision are all similar; they change and beat rapidly, but, in the end, they are still similar. In the quick swinging amongst affirmation, denial, and questioning in psychology, a mystery and a gray mass (probably so) is almost the only thing left remaining. However, I do not know whether it could represent the deepest layers of my soul. As a result, I can only take the results of these continuously drawn images and shape a kind of order to them - an order similar to the act of replication.
To me, a vision of time is a world where one can only see thirty (29.97) each second. Even if they are bullets in motion, one can only see thirty of them each second without a single bullet being displaced. Being in motion is a continuation of time - independent, yet static. There are no repetitions. Purely for the completion of a sequence of groups, they are only similar, very similar, and similar to replications.
Exploring the “Tomb of human cloning,” this series of works includes “thirty self-portraits”, “prosthesis,” “shock derailment." It begins by producing imitations of mechanical forms conducting repetitive actions - this reflects the artist’s own creation of thirty self-portraits, ten portraits of entire backsides, ninety photographic shots of limbs, and one-hundred thousand calligraphed picture cards. From here, an understanding and sensation of time is gained, that time consists of repeated units that differ from each other due to a new amount of labor. My work is not entirely emotional, relying on perception alone to create spontaneously. Instead, the setting of a goal by a rational direction promotes the arrival of a concept.
Time and capacity; one second, thirty objects; one minute, 1,800 objects; ten minutes, 18,000 objects; thirty minutes, 54,000 objects; one second plays one object; one minute plays sixty objects; 1,800 objects needs to play for thirty minutes; 18,000 objects needs to play for five hours; 54,000 objects needs to play for fifteen hours; then, what about 100,000 objects?
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