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LIN Yi-Chun
LAST UPDATE : 2021.04.8 / EDITOR : tcaa
18 artworks / 18 exhibition / 0 essays

Yi-Chun LIN(Esther LIN) is a contemporary artist living and working in Taipei, Taiwan. In 2016, she completed her MFA degree in Fine Art at Goldsmiths, University of London. She is skilled at setting up a trap between reality and imagination through complex psychological sensations, body measurement, and the use of allegory. Her practice explores and creates around the idea of the double meaning of the world and the exclusive. (And sometimes, she might accidentally come out with chaotic results.) Lin received the Judge's Award at the Taipei Awards in 2015 and has participated in several national and international group exhibitions and AIR programs in Okinawa, Tokyo, Taipei, London, Mongolia, and Los Angeles—for example, her AIR project at the 18th Street Arts Center in LA, the 2019 Ulaanbaatar Media Festival, the Peer Learning project in Jakarta, and the like.

Most of her works are composed of commentary combined with spatial installation. By deconstructing the logic of daily life, she intends to magnify phases of transition within the modern daily system and explores the transformation and fluidity of identity and value. Her research and interests include the production of materials in relation to memory, the politics of the time, duration and process in space, and the relationship between object and description. Her works also relate to such topics as city life, modern syndrome, boundaries, fake science measurement, linguistics, utopia, and institutional critique. Her current practice focuses on experimenting with cross-topic creation and exhibition events.

education
2016
MFA Fine Art Practice
Goldsmiths University of London, London, UK
2013
BA Fine Arts
National Taiwan Normal University, Taipei, Taiwan
personal website
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CURRICULUM VITAE
2019
Revolving Corridor
Hallway Gallery, 18 Street Arts Center , Los Angeles , USA
2012
Recurrence: Weekday Movement
Taipei , Taiwan
2020
Taiwan Japan Exchange Exhibition
ART Lab Akiba, Sakuragi Art Gallery , Tokyo , Japan
2019
Ulaanbaatar International Media Arts Festival
MN 17 Gallery , Ulananbaatar , Mongolia
2019
Mabuni Peace Project
CAMP Talganie Artistic farm , Okinawa , Japan
2018
Indicate Injustice: Proposals for Visual Identity and Memorial Object of Monuments of Injustice
National Human Rights Museum , Taipei , Taiwan
2018
Wife Swapping Club Beyond Time and Space
2013 Art Space , Kaohsiung , Taiwan
2018
Mabuni Peace Project
CAMP Talganie Artistic farm , Okinawa , Japan
2018
New Kuroshio Champloo
Sin Pink Pier- Absolutely Art Space , Kaohsiung , Taiwan
2017
New Kuroshio Champloo
Camp Talganie Artistic Farm , Okinawa , Japan
2017
Taiwan Annual
Taipei Expo Park , Taipei , Taiwan
2016
On the Poetic of Islands- Taiwan and Okinawa Artists Exchange Exhibition
Pingtung Art Museum , Pingtung , Taiwan
2016
Taiwan Annual
Taipei Expo Park , Taipei , Taiwan
2016
Goldsmiths Degree Show
Goldsmiths University of London , London , UK
2015
Taipei Arts Award
Taipei Fine Arts Museum , Taipei , Taiwan
2015
Boundaries
Archipelago Magazine issue III, Department of Art and Politics, Goldsmiths University of London , London , UK
2014
Allegory-rending: Practice in Useless
Jiang Shan Yi Gai Suo , Hsinchu , Taiwan
2013
Disorder/ Exhibition/ in Order
Hon-gah Museum , Taipei , Taiwan
2019
18th Street Arts Center
Los Angeles , USA
2017
Sumida Studio Network AIR
Tokyo , Japan
2012
Gold Museum
New Taipei , Taiwan
2018
Exhibition
Sisyphus Ver.20.18
National Taiwan Museum of Fine Arts
Taichung , Taiwan
2015
Taipei Arts Award
Judge’s Award
Taipei Fine Arts Museum
Taipei , Taiwan
KEYWORDS
SELECTED ARTWORKS
Space installation , Interactive installation , glasses , Found objects , , ,
Dimensions Variable
Space installation , Interactive installation , glasses , Found objects , , ,
Dimensions Variable
01 / 10
Walking Stars
This work, composed of sanded fragments of glass and feminine daily objects (a face-washing foam, chair leg socks, and wool) bought in Okinawa, illustrates a contradictory image of the world. In the exhibition room, audiences firstly would see instructions posed by several questions. These questions encouraged people to take and move the components (such as the fragments of glass) of the artwork. By physically touching/holding/playing/moving these fragments, a series of feelings would be evok ...
Installation Art ,
Digital Print , , , acrylic ,
Dimensions Variable
Digital Print , , , acrylic ,
Dimensions Variable
Digital Print , , , acrylic ,
Dimensions Variable
Digital Print , , , acrylic ,
Dimensions Variable
Digital Print , , , acrylic ,
Dimensions Variable
01 / 10
Tokyo Grand Tree
Tourism always convinces providing people the most representative local-style (the worthiest holiday) experience and a chance to keep memory (by collecting souvenirs) within the limited time. However, the real-life experience can not be shaped and experienced without accumulating step by step. During the period of my one-month stay in Sumida-Ku, Tokyo, one of the most famous tourism spots Sky Tree provoked my rethinking of the relation between the tourist industry and true life experi ...
Installation Art ,
, ,
Dimensions Variable
01 / 10
Tomorrow
I used pictures and words to record/create my future daily life. In order to live in front of “today”, I started to write tomorrow’s diary: I imagined what tomorrow would be like as precisely as I could and wrote it down. The next day, I would take photos to document the unexpected things. The set of “expected tomorrow" by text and "unexpected tomorrow" by pictures completed the tomorrow diary.
Installation Art ,
performance document , ,
Dimensions Variable
01 / 10
Preparing and Arranging
This work is based on a series of debates regarding conceptual, rational, and physical experiences through conducting a purposeful test on something trivial—cleaning up my room. The first step was to observe everything in the room, analyzing their positions in the space and exploring new ways of classifying them: “owned”, “waiting for abandonment”, “disposable”, etc. The conclusion of this exercise is that all the items in the space of my room are deployed around the core: me. The distance be ...
Installation Art ,
LIN Yi-Chun, 2012, Installation Art
LIN Yi-Chun, 2011, Installation Art
LIN Yi-Chun, 2018, Installation Art
LIN Yi-Chun, 2014, Installation Art
LIN Yi-Chun, 2015, Installation Art
LIN Yi-Chun, 2014, Installation Art
LIN Yi-Chun, 2014, Installation Art
LIN Yi-Chun, 2014-2015, Installation Art
LIN Yi-Chun, 2014-2015, Installation Art
LIN Yi-Chun, 2014, 2016-, Installation Art
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