Double side video projection (2 channel each projection, sync)

Emigrant Serial No.1: Waiting For Evaporation_Walk out / 04:48 / Pal / No sound

Emigrant Serial No.1: Waiting For Evaporation_In Line / 07:35 / Pal / No sound

Our world is far away from wonderland, no doubt about it. But wonder can be brought nearby by artists’ hands, even if it’s about fake fairytales or unsettling aspects of reality. Meiya Lin is an observer, she registrates sharply social behaviour in the city and has an open eye on human attempts to believe in a better life. At the same time she is a visual artists. She creates images with an autonomous visual value. The connection between her existential preoccupations and her video-images consists of an implacable process of deduction. Breather, a oneminute video from 2001, is even completely devoid of human presence. Nevertheless the movement through a monochromatic cityscape, a disturbing journey along disconnected walls and alleys, has a strong phychological impact based on claustrophobia mixed with glimpses of prospect.

In Meiya Lin’s most recent video-installation the protagonists may appear full length, they are cut loose from every context. They pass by like strangers, their neutral clothes and blank expression give no clue for identification. Reduced to black and white abstractions, the men and women presented in Waiting for Evaporation provoke uneasiness and amazement in stead of empathy. What started as a shooting of people who wait for jobs in the streets of Chinese cities, people who have left their past behind and are far from being embedded in the city, ends up by its subdued transformation, as a
undefined bad dream about hope.

Tineke Reijnders

影像宽屏正反两面投影 (时间同步)

城市移民系列1: 等待蒸发 卷一_排队 / 07分35秒 / Pal制 / 无声

城市移民系列1: 等待蒸发 卷二_出走 / 04分48秒 / Pal制 / 无声

我们的世界远不是奇妙园,毫无疑问。但是艺术家的双手能把奇妙的事物带到我们面前,即使是虚假的童话或是现实让人不安的方方面面。林美雅是个观察者,她留意城市中极为社会化的行为,对于人们努力相信生活会更好的态度抱于开放的视角。同时,她是以为视觉艺术家,创作影像有自己的视觉价值观。她把对存在的关注通过一个做减法的过程抵达影像。2001年的一分钟影像作品《喘息者》中甚至完全没有人的存在。但是在单色调的城市场景中移动,在断臂残环和小路间穿行,幽闭的恐惧夹杂着数瞥远景,都给人留下了强烈的心里冲击。林美雅最近的影像装置《等待蒸发》中, 人物从表面看连成一片,其实每个形象都自成一体。他们像陌生人那样走过,衣着普通,表情平淡,身份无法辨识。影片中的男人女人抽象化的黑白形象让观众不安,心生好奇,而不是同情怜悯。艺术家拍摄的是中国大城市街头等活儿的民工,他们已经抛开了过去,但又没有融入城市。作品排除了颜色,声音等元素,呈现了一个不确定的关于希望的噩梦。