2013 Yu Yen Lin CV

Yu Yen Lin 林于嫣 2008-‐2013

Por1olio

Yu Yen Lin 林于嫣 1987 Taichung, Taiwan

[email protected]

+49 15773793858

Educa&on 2011 Bachelor Degree of Fine art , Taipei NaKonal University of The Arts Arts ,Taiwan, R.O.C 2006 Diploma in senior high school. Miaoli Senior High School .Taiwan.

Exhibi&ons 2011  “BETA 26th Degree ExhibiKon” Underground Museum of TNUA, Taipei NaKonal University of The arts ,Taiwan 2010 “Die Lec’schen Gedanken”Roemer-‐und-‐Pelizaeusm Meseum Germany 2009  “Double Banana Program”, North-‐South Gallery, Taipei NaKonal University of The arts ,Fine art department .Taiwan 2008 “Sea Turtle & Scarf”, North-‐South Gallery, Taipei NaKonal University of The arts ,Fine art department .Taiwan “For the Group Show”, Underground Museum of TNUA, Taipei NaKonal University of The arts ,Taiwan 2006 “Perfect!” , Culture Gallery, InternaKonal Culture and Tourism Bureau, Miaoli, Taiwan. 2005 “7th GraduaKon ExhibiKon of Art Class in Miaoli Senior High School ”, Culture Gallery, InternaKonal Culture and Tourism Bureau, Miaoli, Taiwan. 2004  “Tseng Shian-‐tsai studio Group Show” Culture Gallery, InternaKonal Culture and Tourism Bureau, Miaoli, Taiwan.

Wards received 2011 Selected Prize ,Film of Poetry 2011 Taipei Poetry Festival. 2009 Winner,Ministry of Educaion Scholship for Exchange student. 2009 Winner, The 2th The SHINE of Wings Awards Competition. 2008 Selected Prize, The 1th The SHINE Arts Awards Competition. 2007 Selected Prize, The 25th TNUA Anniversary Photography Arts Awards Competition. 2006 Special Prize, 2006 National Student Arts Awards Category of Comic Competition.

-‐Pak Sheung Chuen , Odd One In II -‐ Invisible Travel, 2009

Table of content

Next-‐door story (2012-‐2013)

The Life always flow (2010-‐2012)

Others eyes others mid (2009-‐2010)

The other works before

ExhibiKon recording

I try to represent my feeling through the use of image.

Perhaps I will get lost on the road.

When I am lost, I believe that if I keep moving forward,

I can find my direcKon and get my intuiKon back.

I tell myself that I cannot give up midway.

我嘗試著把我感受到的事情用影像的方式表達出來

。

或許我會在旅途中迷失

。

在迷失的過行中

我相信只要向前，

就可以找回心靈的方向和直覺，

並告訴自己不可在中途返航

。

In the beginning I thought I can live in harmony with others but it ended up with

struggling. In order to avoid quarrels and confrontaKons, I have to adapt to such

circumstance with a flexible relaKonship. The records made from the images are

my diaries. They are not the detailed documentaKon of the everyday life but the

fragments that lei in my mind profoundly. SomeKmes they are stories I heard from

others or my own ones; someKmes they are a piece of music or a short sentence,

yet they are my food for thoughts.

Carolyn Christov-‐Bakargiev said ‘What Is Thinking?’ The answer for me

is ‘to let the unseen be seen’. In German will be

‘macht sichtbar’.

For me these brief words are very powerful.

In my mind, percepKon could not be thoroughly presented by science or

be expressed literally, yet it could be delivered more completely while

similar experience is shared.

“The object of all science, whether natural science or psychology, is to co-‐ordinate our experiences

and to bring them into a logical system. ”

According to this sentence, I do not only visualize the stories but also put my opinions into them, to

expose my confusion. If the viewers follow my thoughts, they might feel perplexed; but then different

answers might appear.

（* The Meaning of RelaKvity Four lectures delivered at Princeton University, May, 1921）

So many things happened since I came

to Berlin last year; not unKl half year

later all the things were finally sepled

down. Then I started to review these

happenings, including the things I

experienced, or the news of Taiwan I

read through media. Some images

repeatedly occurred to me, and I tried to

represent these recurring images

through picture-‐like video.

Next door story (2012-‐2013)

隔壁鄰居

的故事集

A Lucid Dream is different from a daydreaming: the former is a person in the status of sleep yet being conscious; a daydreaming is a person fantasizes or mediates while being awake. Lucid dreams happen in the period of Rapid Eye Movement (REM). The rapidly moving opened eyes showed that I was conscious, yet it looked like I was in the period of REM. I kept telling myself that it was a dream in the wakefulness while my eyes moved faster and faster, then I stopped and stare at myself in the mirror, am I living in the reality or dream? My opened eyes telling me that it is not a dream; the rapid eye movement seems observing the change of environment and I am ready for the upcoming events, yet my eyes is looking in the mirror actually. It is a loop.

1. 《Lucid Dreams》 2013 / Loop play

清

醒

夢

Video InstallaKon/ 720*480 /Mpeg 4/Loop 2013

Lucid Dreams 清醒夢

Sketch 2013

Lucid Dreams 清醒夢

The girl was crying in sadness as she kept squeezing out her body fat in the scene. Obsessive compulsive disorder (OCD), a common mental illness. Everyone is worried about the body shape these years, especially people in Asia. At first people tried to avoid obesity because it cause illness and could be fatal. People have been tried to avoid illness and fatality, and obesity must be dreadful since it causes both. From 1960s the concept of thinness disseminated from media, and the idea of beauty of thinness is deeply ingrained in the society, and it is like a collecKve ideology so widespread to the extent of compulsiveness because no one want to be different from the others. Thinness becomes a fashion that represents the anxiety and nervousness.

2.《girl of OCD 》2013/02’50”

強

迫

女

孩

Short movie/ 720*480 /Mpeg 4/ 02’50” 2013

Girl of OCD 強迫女孩

Sketch 2013

Girl of OCD 強迫女孩

I met a group of friends who majored in or work related to music while they were making the original sound track of a play in 2010. The three musicians and sound recordings worked together for over one year to release this play in 2012. I am interested in the communicaKon between people through this process, and I tried to record it with my personal perspecKve even though I never made documentary before. What was interesKng is that while I was choosing the events to edit the video, from the middle climax to the peaceful ending are all decided by myself. I added the peaceful interviews into the film because I am afraid of the real situaKon that I realized, in the end the audience can only watch a smooth and peaceful film. It is not a false one but the reality comes from an arbitrary angle. The harmonious story is the beginning of a l i e a n d i t d emo n s t r a t e s t h e omnipresence of media in the daily life.

The life always flow (2010-‐2012)

生

活

持

續

行

進

This is my first documentary. Though the dialogue in the film is real and natural, aier the ediKng it reveals a fascinaKng atmosphere. Some of the details lost its original meaning but are replaced with another perspecKve; it is a real yet arbitrary record of living experience.

1.《Time in…》 2011 / 17’06”

請

繼

續

Short movie/ 720*480 /Mpeg 4/ 17’06” 2011

Time in…請繼續

It won the Selected Prize of Film of Poetry in 2012 Taipei Poetry FesKval. The fluctuaKon of traffic route and light combines with the chanKng of low female voice, thus create a mysterious atmosphere. The poetry was in a self-‐doubt tone, but it is assumed that the other party can be understood, even his/her dissociaKon from life. This reminds me of observing people on subway, the off-‐work crowds, the sun set which is passed half a hour before, and fast-‐moving reflecKon of the lights on windows of the train. Would the room outside of the windows I passed by be the home of the passenger standing next to me? The train stopped shortly each staKon, and the same people got on and off at the same staKon. A fear of falling in this bopomless pit of the city aroused, so I tried to imagine that someone was also sharing the same thoughts to eliminate the feeling of fearness and powerless.

2. 《Wandering》 2012 / 01’05”

微

憂

No one can be so close to a human like i am to him.

Approaching, closer and closer, closer to him than himself

Who often drifts away from this world.

We are wandering on the platform

Don't know yet where to go but i will head toward there.

Having the doubt of self-corruption

I never know what is fear

Once there's eye contact, we smile.

人們不可能像我接近他這樣更接近一個人類

接近越來越接近

接近再縮短

比他自己更接近如此經常飛離世間生活的他

我們在月台上漫步

我不知道我要往哪去

但我會往那去

我

擁有自我墜落的質疑

我從來就不害怕

我們的目光一接觸

就微笑

Short movie/ 720*480 /Mpeg 4/ 01’05” 2012

Wandering 微憂

As are creator, I faced the first

environmental impact during my year

exchange-‐student experience in Poland.

Travelling in different cultures may not

appear unfamiliar for many people; no

knowledge of local language is also

predictable. There is great gap between

being a traveller and having a life

somewhere, however this difference was

not foreseen by me during that year. The

accuracy and atmosphere tend to be lost

because of translaKng. And therefore

results in misunderstandings on art

creaKng and perceiving, which I call

“Aphasic”.

Others eyes others mid (2009-‐2010)

I followed two professors of image studio

and illustraKon studio respecKvely. It was

also during that period started my interest

in poetry and arKcles into image.

I had different feelings toward the text and

scenary which they are familiar with.

Wandered like a ghost in the city , campus

and classes under “Aphasic” , wanKng to find a way to real communicaKon.

Since then I started trying to express my

feeling in my works, and find back the

communicaKon with people through

images and acKon.

我以

為的

異中

求同

In New Media studio we have a small pracKce at classroom, every student hat own one object and take turns to performances in single space. We are not only have our part of object but also have the object which lei from last student. That is the same mean with the Ktle: public and / or self space.

1. 《Public/Self space》2010 / 02’51”

Video InstallaKon/ 720*480 /Mpeg 4/2’51” 2010

Public/Self space

That is mean ‘The exit is usually where the entrance was.’ in English. I use this short sentence to make a video. The women in the video seems repeat looking for something (Exit), in the end, she noKce the door which is set behind her is fake. And all route are just a dream, is that mean Exit? When she awake?

3. 《The Entrance》 2010 / 01’05”

『wyjścia jest zazwyczaj w przypadku gdy wejście było』

－Stanisław Jerzy Lec

出

口

就

在

入

口

處

Video InstallaKon/ 720*480 /Mpeg 4/2’51” 2010

The entrance 出口就在入口處

My interests of music and image can be

seen in my works before 2008.

Followed by some experimental works

and the projects I took part in.

The other works before

在這之

前的其

他作品

The video is a relaxed recording about a group of people various from ages and relaKonships between each other. While they were facing a sudden unforseen event, they pretended they don’t care or made eyes with others. The young girl was astonished but pretended to read a newspaper, aier her boyfriend showed up she was more relaxed. Their diversify acKons depicted how people need relaKonships natually. A large group of people and the elders had no respond to sudden event, because of there were many of them, and the elders decided to judge from their experiences, thus chose to be silence. Furthermore, we could tell that the audience had faith in the instrument about the invader’s acKon. Animals usually ignore those factors, as the dog remained its former self to the cello.

1.  《City one day》2008 / 1’48”

另

一

種

聆

聽

的

方

式

Performance recode/ 720*480 /Mpeg 4/ 01’48” 2008

City one day 另一種聆聽的方式

A sudden senKment became a small theory. The video comprised overlapping images of the cellist and ends with a lei, empty chair; it was just like our relaKonship with Kme. A serene and beauKful moment resembles a fluctuaKng scene, which is composed of a stream of hundreds of thousands of photographs; things vanish when Kme passes but we are not aware of it. Our minds cannot recall the very original scene, so we imagine while we recall. These imaginaKons paralleled with those Kmes, which had fade away. People tend to look at things longitudinally, and main reason for the parallel is “emoKons”. We were oien trapped in our emoKons while recalling a piece of memory, actually there is no ending for Kme, and these would have to end while we decide to.

2.《Theoria》 2009 / 00’30”

理

論

Short movie/ 720*480 /Mpeg 4/ 00’30” 2009

Theoria 理論

This work was composed of three secKons: the radiator, the photoresister, and the foam mat. The radiaKon was transmiped from the radiator to the photoresister through the foam mat. So while the parKcipants shoot the dart onto the foam mat, which was designed as a musical staff, the dart would block the radiaKon to iniKate the computer program to play the music. ‘Why not using more enjoyable ways to make music?’ Everything about this work stared with that sentence on 2008. The process of creaKng and composing are oien obstructed, so we decided to create an interacKve composing machine. The nonlinear music was not formed by notes, because there are rules about making music, it becomes noise when it is not followed by them. Furthermore, we decided to make this process enjoyable, so the composer shot the darts onto the stave, thus made it a melody. On 2011 this interacKve art work conKnued on the malody of the composer, and separated it into five parts from different instruments and tones. The parKcipant of the audience made the deligh1ul thoughts easier to be performed.

3. 《From the other side》(2008 ) 2011 / (00’30”) InstallaKon

來

自

畫

面

外

的

某

處

Short movie and InstallaKon/ 720*480 /Mpeg 4/ 00’30” 2008 and 2011

From the other side 來自畫面外的某處

Exhibi&on Recording

展覽

記錄

It was a degree exhibiKon, in which i placed a show room of

my own in center of the room, and another work outside the

wall. The whole space was private; at in end of a hallway, with

my creaKons from the past five years of study.

《BETA 26th Degree ExhibiKon》 2011/ Underground Museum, TNUA

北

藝

大

經

典

Vernissage are quite common in art schools, the original intenKon is to provide visitors some snacks to enjoy while they apend the exhibiKon, and however, very oien it ends up as a cafeteria in the campus. People snatching the food is a common scene, as if the only reason apend the vernissage is for free food. We have a saying , “Holding two bunches of bananas” meaning to visit others without bringing anything. Here it perfectly describes these eaters. There was noKng but only the name of the exhibiKon and Kme of the vernissage with various types of snacks and drinks provided. The visitors were video taped and photographed without knowing while they enjoyed the food and maybe started wandering where the exhibiKons were. The “real” exhibiKon was one day aier the vernissage, playing the video of people eaKng and chayng in the vernissage the previous day, and their was the actual main scheme of the exhibiKon. Some of the visitors were laughing yet some got mad.What we wanted to reflect was just as simple as that.

《Double Banana Program》2008/ North-‐South Gallery, TNUA

雙

蕉

人

2013 Yu Yen Lin CV

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