“Interstice - Fruit resistance. The non-expiry report”

2015 | Inkjet print on acid-free paper mounted in aluminum frame, 50 x 33 cm each, mounted sequence of 8 image, 51x34cm frame size

For his first solo exhibition, Interstice, Kuo-Wei Lin presents a new series of works at Michael Ku Gallery in Taipei. In Lin’s work, the core of his creations often deals with various human activities in everyday life by using related objects and materials to explore a specific personal or collective perceptual experience.

Lin is interested in the French scientist and physicist Étienne-Jules Marey's research, particularly his experimental avant-garde photography from 1899 to 1902. Marey was aware of the importance of reconsidering the lack of value in natural phenomena as a reference. Through artificial manipulation, he observed nature and its movement, such as blood circulation, the movement of objects, and even the force of gravity. Additionally, Marey made a special smoke machine, using smoke to record the airflow in photography, revealing the invisible substance.

To make invisible experience appear" has become Lin’s central interest. In his new work, Interstice in Anonymous Transfer (Auto Save), Lin designed and organized the color-coated steel bars, assembling connectors and casters and mixed and arranged them into a movable skeleton mass. He appropriates the color of metro systems from different cities of the world. In this project, Lin uses several industrial thermometers, the most accurate instruments for measuring, as well as an instrument with a mushroom-like deployment, spliced into a steel handle.

In fast-moving passenger trains, humans grip the poles and residue from the human body is imprinted and transferred.

Lin’s work focuses on the collective experience of people in urban transportation systems and ephemeral contact. He seeks to represent the body’s perception (temperature), and the role of swapping displacement and experience. His work swings between the personal and collective, in relation to a “real existence,” a “dislocation,” and an “absence.”

In this vast circulative network, this alienated relationship has never been connected through a linguistic dialogue or a visual interaction, but it has manifested itself as an immediate and ambiguous contact as well as a physical interaction between strangers.

In a mounted sequence of eight photographs, Interstice - Fruit resistance, The Non-expiry Report, Lin prudently imitates the mise-en-scène of commercial photography. He appropriates optimal lighting within the setting of a delicate fruit still life.

The artist intends to cover the dramatic changes in the instrument through serial camouflage. The bi-metal thermometers translate the temperature of this stage. Objectively and absolutely, the indicator of the thermometer still remains at an extreme low and extreme high temperature value.

The juxtaposition and the absurd set of metrics of the industrial non-organics and the natural organics, reverse the viewer’s imaginative association in ordinary experiences, as well as in the making of the image.

Interstice in French means the gap between time, space or materials. It also is an anatomical term that means a small structural space between tissues or parts of an organ.

We can see the new work of this exhibition as the continuation of Lin’s work in the 2014 Taipei Biennial. It also reflects his early architectonic project in the POST.O exhibition in MOCA Taipei in 2009, which featured a temporary large sauna-like wooden corridor built from found material.

In the context of using art as a lever or an anchor, Kuo-Wei Lin catalyzes the expansion of human perception.

Perhaps Lin’s life as a long-term Taiwanese expatriate — living in boreal Germany and returning to his tropical country — is crucial to his art because the issue of his environment constantly influences his observations.

The inter-impact of climate change and cultural differences inspire his observation and creativity. Lin attempts to re-build a path of viewing through considering the fundamental and philosophical human conditions, as well as through observing and rearranging the objects and materials.

Advised and supported by Ministry of Culture of Taiwan and Department of Cultural Affairs, Taipei City Government


Artcollector Magazine By Jason Chung Tang Yen

July 2015

Young Blood in Taipei - Art Collector.au

“間隙 - 水果抵抗。未過期的報告”

2015 | 噴墨輸出無酸相紙 鋁框裱褙 每張 50 x 33 cm, 影像裱褙於 8 張的連續組合, 外框尺寸 51x34cm

「間隙 Interstice」是林國威於谷公館的首次個展,將展出一系列2015年的新作。在他的作品,經常以人類多樣的日常生活行為作為創作核心,並以相關的物件材料,探索屬於個人或公共的特殊感知經驗。

林國威在法國科學家、物理學家Étienne-Jules Marey的研究當中,特別是從1899年至1902年前衛的攝影實驗作品,察覺到以沒有價值的自然現象做為範本的重要性,如何透過人工的手法去觀察自然與其運動,例如血液循環、物件的移動,甚至地心引力;他製造了特殊的煙霧機器,運用煙,以攝影方式紀錄了空氣在空間的流動,顯現不可見的物質。

林國威專注於公共空間中“顯現不可見的經驗”。在作品『間隙 - 匿名的轉移 (自動備份)』中,林國威設計並訂製了烤漆塗裝的鋼柱、組裝零件及底輪,混合編排成一組可移動的大型交通內裝骨架。他以來自世界不同城市的特有捷運標準色,作為多色的烤漆塗裝。林國威利用了工業用的溫度計,以最為精準的溫度測量儀器,像是蕈類般的部署、鑲接在不同的鋼柱把手上。


在『間隙 - 水果抵抗。未過期的報告』一組八幅的攝影作品中,林國威謹慎的複製了商業攝影般的場面調度(Mise-en-scène),挪用以最佳化的燈光及細緻的水果靜物設置,偽裝掩飾了儀器的劇烈變動。探針式溫度計像是客觀並絕對地,轉譯了現場的溫度,溫度指針靜止停留在極低溫與極高溫的數值。他在這看似毫無相關,以工業無機物與自然有機物的並置和其極端且詭異的度量,反轉了觀者對影像製造與場所和生活經驗的想像連結。

「間隙 Interstice」作為這次個展的主軸,法文 Interstice 有著空間、時間或材料間隙的意思,但在解剖學裡也有人體組織間的間隙的含義。這次新作延續了2014年台北雙年展發表的作品,同時也映照了他先前於2009年後地方展覽展出的大型暫時性建築 - 以廢棄木建造的三溫暖通道空間,以溫度和日常生活所及物件,在藝術的脈絡作為槓桿的支撐點,催化了人類的感知擴張。也許在他長期介於台灣熱帶與德國寒帶的生活中,反覆的溫度與文化相互衝擊也連帶的給予他源源不絕的創作動力,企圖在這感知的衝突、連結以及經驗中,重新建立另一個以觀察物件與人類哲思問題的途徑。