jingjing Lin
Mizhuang: Individual entertainment experiences have replaced philosophies of life to become the explanations of the world. Anxiety comes from the loss of a sense of security, from the uncertainty of existence. Your work …I... is more of a performance piece than an installation. You used corrective tape to cover up every word in books except the word “I”, leaving a bunch of “I’s” scattered randomly around the pages. Why books?Lin:People always use persistent things to elaborate on transient things. Stones are erected over tombs to bear witness to the occurrence of fragile life. Printed materials are objects that give people material definition by establishing contact and exchange across time and space. Printed material is a testament to the imperative and desire for exchange, while erasure is a simple and rapid method for wiping out information. What printing transmits is a construct, a cultural bridge that establishes contact. It provides standards for judgment. Erasure and the covering of words are also the erasure of standards, the prevention of evaluation, inference and choices about the world, the erasure of the extension of time. It ignores and threatens, destroying trust and understanding, destroying the traces of existence that are decoded through experience, erasing the vigilance of life. It is like old incantations and sorcery accepted in exchange, which silently awaits the always soon-to-arrive prophecy. In this endless waiting, the world becomes an unimaginable thing outside of “I”.Mizhuang: In these books, the only time is the independence of “I”. The impossibility of connecting between “I” and the world is the source of the sense of panic this work gives me.Lin: Cutting the connections with the past and the world give us a sense that we no longer exist. Erasing the past leads us to doubt who we are. By turning the environment around us silent, the sounds of distant motors, even the shadows cast by lights in the night become suspicious. The world is silent, and that silence is tight and silent. It makes the endless series of“I’s” that remain appear so sudden, so tangible, solid, heartless, unfamiliar. It binds existence and destruction tightly together, making “I” incomprehensible, even intolerable. But who is it that is intolerable? It is the self that we have never recognized, the information of others that is exposed on ourselves. The term existence does not explain any meaning, but existence is an infinite concept. After erasure it is a lost infinity, a dangerous defense, an insecure security. Mizhuang: It makes everything appear more impossible. It proposes the most primal questions: who am I? Where am I? Where am I going?Lin: The quest for survival is instinctual, while confirming the meaning of existence is also an instinct. Our existence is a reason for reaching and entering the future. As we arduously struggle against the ruthless monopoly of disappearance over time, we are also moving into a state of anxious estrangement with the world, of accepting the fear of lost security, of accepting disappearance before it happens, accepting death before it happens, and all of the torment and hardship we have faced become absurd, just like existence.
