Tomb of Human Cloning - Lin Jun-Liang solo exhibition
複製人墓－林俊良個展
2012.01.07~02.19
複製人墓－林俊良個展
2012.01.07~02.19
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?
當我開始明白：機器的發明，是為了取代人類重複勞動的工作行為，於是我們稱這些機器為「人類身體的延伸」。無論是機器或身體，都在重覆勞動的行為之中，誤認為不同時間點的價值其實都是相同，而忘了時間其實擁有唯一與獨立的特性；即便如此，這個誤解與遺忘並不會影響重覆行為之後，因為物件彼此的相似性所帶來的「時間補缺」意義。
當我把重覆的行為看作是種科學上的複製時，這個行為便像是複製了人類生命一樣虛幻，沒有極限；只是在複製過多相同結果之後，便會讓每件事物因為太過於類同，而開始缺乏獨特性，變得只是數量的累積，開始變的像是被遺棄的、不重要的一切，堆積起來便像極了一座墳墓。
＊「時間補缺」＝TIME PROTHETIC
我想要保留一個情況，心理的一個情況；在這之中，思考、情緒、視覺都是類似，它們變換的快，跳動的快，但終究類似；心理在肯定、否定、質疑三者間極速搖擺，快到只剩一團迷霧、一團灰黑（也許是如此）；但我不知道，它能否代表我最底層的心靈空間，於是我只能把這些連續繪製影像的結果，形容成是種順序，一種類似複製行為的順序。
時間視覺對我來說，就是每秒只能看見三十張（29.97張）的世界，即便是移動中的子彈，也是一秒三十顆，並非一顆子彈的單體位移；移動中的，是時間的連續，是獨立且靜止的，彼此不重覆，只是為了完成一個順序的群體，他們彼此只是類似，極為類似，類似複製。
以「複製人墓」為主的系列作品，皆以模仿機械勞動形態的重覆行為而製作，針對創作者本身進行三十次的肖像自畫、十次的全身背部自畫、九十次的肢體拍攝，以及十萬張的毛筆自畫圖卡，從中了解時間、感受時間，並明白時間本是單位的重覆，因重新的勞動，而彼此有所差異。我的作品並非完全感性、單靠知覺、創造偶然，而是理性的朝向設定目標的行為，促使概念的抵達。
時間與容量；一秒三十張；一分鐘一千八百張；十分鐘一萬八千張；三個十分鐘五萬四千張；
一秒播放一張；一分鐘播放六十張；一千八百張需播放三十分鐘；一萬八千張需播放五個小時；
五萬四千張需播放十五個小時；那十萬張呢？
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?
當我開始明白：機器的發明，是為了取代人類重複勞動的工作行為，於是我們稱這些機器為「人類身體的延伸」。無論是機器或身體，都在重覆勞動的行為之中，誤認為不同時間點的價值其實都是相同，而忘了時間其實擁有唯一與獨立的特性；即便如此，這個誤解與遺忘並不會影響重覆行為之後，因為物件彼此的相似性所帶來的「時間補缺」意義。
當我把重覆的行為看作是種科學上的複製時，這個行為便像是複製了人類生命一樣虛幻，沒有極限；只是在複製過多相同結果之後，便會讓每件事物因為太過於類同，而開始缺乏獨特性，變得只是數量的累積，開始變的像是被遺棄的、不重要的一切，堆積起來便像極了一座墳墓。
＊「時間補缺」＝TIME PROTHETIC
我想要保留一個情況，心理的一個情況；在這之中，思考、情緒、視覺都是類似，它們變換的快，跳動的快，但終究類似；心理在肯定、否定、質疑三者間極速搖擺，快到只剩一團迷霧、一團灰黑（也許是如此）；但我不知道，它能否代表我最底層的心靈空間，於是我只能把這些連續繪製影像的結果，形容成是種順序，一種類似複製行為的順序。
時間視覺對我來說，就是每秒只能看見三十張（29.97張）的世界，即便是移動中的子彈，也是一秒三十顆，並非一顆子彈的單體位移；移動中的，是時間的連續，是獨立且靜止的，彼此不重覆，只是為了完成一個順序的群體，他們彼此只是類似，極為類似，類似複製。
以「複製人墓」為主的系列作品，皆以模仿機械勞動形態的重覆行為而製作，針對創作者本身進行三十次的肖像自畫、十次的全身背部自畫、九十次的肢體拍攝，以及十萬張的毛筆自畫圖卡，從中了解時間、感受時間，並明白時間本是單位的重覆，因重新的勞動，而彼此有所差異。我的作品並非完全感性、單靠知覺、創造偶然，而是理性的朝向設定目標的行為，促使概念的抵達。
時間與容量；一秒三十張；一分鐘一千八百張；十分鐘一萬八千張；三個十分鐘五萬四千張；
一秒播放一張；一分鐘播放六十張；一千八百張需播放三十分鐘；一萬八千張需播放五個小時；
五萬四千張需播放十五個小時；那十萬張呢？