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陰兒工廠

作者
林子嫙
創作領域
插畫、繪畫
科技產品的快速發展促成人與非人之間的親密關係,人們跳脫身體框架,走入虛擬世界。這樣的狀態打破了傳統人文主義下原有的界線,我們開始尋找新的平衡點,重新思索「人」的意義。

系列作品以一隻沒有黑眼球的天線寶寶作為主要串連的角色;這些被大量複製、解體的「陰兒」們,就像工廠製造出來的工業化量產商品般,倚靠著電力、網路在過生活。透過陰鬱、詭譎的色彩與構圖,試圖諷刺、警醒觀者:這些伴隨著科技而來的生活樣態以及問題,希望眾人一同重新檢視、反思。

攀岩遊樂場 Rock Climbing Wall

器官分解的寶寶,攀著「插座岩」,爭奪著電力。當今,我們追尋的目標、依賴的對象,是電力、網路等虛擬的產物。插座的虛實交錯,描寫的是時代下出現的陷阱,一個失足,我們將墜落。

爭奪插座的攀岩競賽,暗指電力已成為現代人不可或缺的資源。競逐著有限的電力,以求得進入虛擬世界的無限,我們受科技產品的綑綁,深陷無形的成癮,且時時焦慮。彷彿電力不足的警示響起,便會與世界脫節。

Babies with disassembled organs climb on the “outlet rock,” fighting for electricity. Nowadays, people heavily rely on virtual electricity and internet. These staggered “outlet rocks” represent the traps created by this virtuality. One wrong step can make you fall.

The competition for the outlet implies that electricity is an indispensable resource for the modern society.
We are so addicted to technologies and often feel anxious, just like when we heard the warning of insufficient power, we feel disconnected from the world.

充電寶 Portable Changer

插座攀岩競賽中的贏家寶寶得以使用插頭充電,而其他寶寶只能靠吸取「血袋」中的金色能量,緩慢地補充電力。

大量複製而量產的寶寶們,象徵虛擬世界中單一、片面的形象。這樣的形象如同工業生產,使得人逐步物化,成為生產鏈上「非人」的量產商品。同時這群寶寶們所倚賴的一元化電源,也可視為現代生活中被簡化的認同:透過hashtag、emoji、like等一指隨選的符號,化約複雜的現實。在這樣有限、淺薄的競爭中,誰又能成為贏家呢?

The winner of the outlet rock climbing can be charged up through the outlets. Others can only rely on the energy stored in the “blood bags,” slowing charging themselves up.

Bulk-copied babies represent the lack of variety in the virtual world. Such an image just like industrial production, which gradually materialize the human being and make humans into these mass-produced non-human products. Meanwhile, the single power source that the babies rely on portrays the modern live that has been simplified. By the hashtags, emoji, and like buttons that can be easily selected, our complex reality has been made plain and monotonous. When being shallowed and empty, who can be the winner?

窺 Peeking

鴨鴨馬桶的瞳孔上設有針孔,觀者窺視著他,而他也盯著觀者。氾濫的攝像頭、不被規範的裝置、沒有分寸跟界線的紀錄行為,使遭物化的我們被瀏覽、儲存、暫停。

現在的你純粹只是觀者嗎?還是你也正被觀看著呢?當今鏡頭已是無處不在,現實生活中的凝視,來自四面八方,防不勝防。這些不經尋求的凝視,矮化了每個人不被記錄的權力,構成一個相互監控的網絡。在這樣的世界中,凝視與被凝視,成為界線模糊且蠻橫的雙向關係。

The hidden camera was implemented in the eyes of the duck toilet. Rampant cameras, unregulated devices, and excessive recordings have allowed us to be materialized, captured, stored and viewed.

Are you simply a viewer? Or are you also being viewed? Nowadays, there are cameras and everywhere. People are also watching you in your daily life. These stares have invaded people’s right to be private. In a world like this, the boundary between staring and being stared has been blurred and ignored.

浸 Soaking

插座設在地上、電線泡在水中。寶寶在這樣緊張的環境中悠哉地浸泡在形如手機螢幕的浴缸裡,伴著手機播送的音樂,享受這種分心的狀態。

看似平常的居家澡堂、安心的泡澡狀態,卻因水電的互不相容,呈現物理危機,也暗示潛藏的危險。漫漲的水位,即是適溫的網路世界,寶寶玩樂其中,毫不知自溺的可能。現實世界裂解成數個平行時空時,誰還能確定所在、保持專注、察覺動靜?

(手機螢幕上的QRcode能夠掃描到系列作品《窺》中拍攝到的影像。)

The outlets are installed on the floor and the wires are soaked in water. Babies are resting in this dangerous environment, enjoying the music from the phone.

The seemed-ordinary bathroom with the relaxing vibe is actually dangerous because of the ubiquitous electricity. The gradually growing water level symbolizes the internet world. Babies are having fun with it without noticing the approaching danger. When your reality world breaks into several virtual parallel universes, how do you orientate, stay focus, and remain alerted?

(Scan the QR code to see the pictures taken in the previous work: Peeking)

無臉的自拍者 Faceless Selfie Taker

無臉的解體寶寶正舉頭自拍,而來自各個時空的四肢及攝像頭,無預警地探出。寶寶臉部使用鏡面紙材,使觀者像映照其中。

解體的部位,是被科技綑綁而物化的零件,人身成了程式載具,透過螢幕與網路的串聯,究竟是使我們完整了個人性,還是將我們拆卸成零散部件?無臉意即失去自我,暗示流連在網路展示自己時,物化自我的隱形恐懼。透過鏡面媒材邀請觀者加入,映照你我的瑣碎形象,而每張雷同的面孔相互交替、複製,無限繁衍、無從指認,誰都已不再是局外人。

A faceless disassembled baby is taking a selfie. The limbs and cameras from different universes pop up out of the blue. A mirror was used for the baby’s face, reflecting the visitor’s face.

The disassembled body parts represent the fact that people are so caught up by technology. When a human limb becomes a part of the internet, does it complete us as humans, or does it tear us apart? The faceless image implies that we have lost ourselves. When we try to demonstrate us on the internet, we materialize and quantify ourselves. When these images reflect each other through the mirror, new but similar images are made infinitely.

雙胞胎 Twins

畫面中的雙胞胎雕塑作品,呈現的是一對身首分離的孿生嬰兒,懸掛式的頭,給人搖搖欲墜,甚至是上吊的不安感。而「正常」的嬰兒身旁,則是一個全身滿佈電路元件的嬰兒。他們之間,形象相似卻又不同:本尊與虛擬替身之間,究竟是緊密多,還是疏離多?他們又是以什麼樣的關係共生著?

雙胞胎被客體化為雕塑品,置於展覽櫃上,淪為任人凝視、賞玩的「物體」。此關係,更進一步揭示:在虛實不分的網路形象中,主體被剝去能動性,在名為社群網站的牢籠裡,被任意觀看。

The sculptural work depicts a pair of twin babies with their heads separated from the bodies. The hanging heads gives people a sense of insecurity. Next to the "normal" baby is a baby outlined by electronic components. The two figures are similar but different: between the baby him/herself and the virtual double, in what kind of relationship do they live together?

The twins are objectified into a sculpture, placed on the display cabinets and became an object for people to visit. This relationship further reveals that on the internet which reality and virtuality are indistinguishable, the subject is deprived of agency and is being viewed arbitrarily social media.

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作品 /
陰兒工廠
作者 /
國立高雄師範大學 | 視覺設計系
林子嫙
410693032@mail.nknu.edu.tw
林子嫙
410693032@mail.nknu.edu.tw
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