Art projects

29th Slavonian Biennial, curated by Museum of Fine Arts, Osijek, Croatia (2024)

foto HINA/ Tomislav PRUSINA/ ik

Antifragile (2024)

Group exhibition at River Art Gallery, Taiwan

The sentence "Natural Tension" on the second floor captures the idea of reconstruction, emphasizing the tension between nature and life that fuels growth and change. Chinese artist Huang Baoying creates objects connected to personal stories, seeing them as vessels for thoughts and a way to align her inner self with the outside world. Moving to "Silent Resilience," the focus shifts to the resilience built from tension—quiet but strong. Canadian artist Winnie Truong combines traditional painting and paper-cutting to explore identity and feminism, highlighting the tension between the natural and supernatural, encouraging viewers to reflect on their identities and experiences. Lastly, Taiwanese artist Lin Peihan examines culture, memory, and identity, inviting viewers to explore the complexities of cultural heritage and collective memory, leading them to ponder, "How do we live?"

The show concludes with Taiwanese artist Pei Han Lin’s immersive approach to space, where video installations, silk works, and paintings express her deep engagement with political, environmental justice, and human rights issues. The entrance and exit of the exhibition space converge at a single point, symbolizing an inescapable cycle of reality. The core concept of this section, "The Elephant in the Room," interacts repeatedly with the words on the wall, "How do we live," alluding to the pressing issues we are aware of but reluctant to confront. “NuclearXocean" and "ReinXwind" both explore the relationship between the environment and human survival. The former critically addresses the impact of nuclear waste disposal on Lanyu Island’s environment and the culture of the Tao (Yami) people, while the latter depicts the delicate yet conflicting tension between reindeer herding and wind energy development, highlighting their subtle commonalities while underscoring their inherent opposition. 

One of the highlights of this show is undoubtedly Pei Han Lin’s "(E)xp(L)oring spirals in th(E) (PH)ysic(A)l curre(NT)," a work that pushes tension to its peak. Aligned with the core concept of "The Elephant in the Room," this video piece dramatically exposes the wounds we are reluctant to confront. Maximillian Cohen once suggested that all phenomena and cycles can be understood and predicted through mathematics, and Pei Han Lin reaffirms this idea in her work. "Exploring spirals in the physical current" appears to delve into natural forms or movement patterns, yet the artist uses this piece to hypothesize and test ideas. She boldly embeds the word "elephant" within the title, resembling a coded trigger for a predictable future. The video interweaves a visual language rich with cultural symbols and a delicate yet dissonant narrative rhythm, unveiling the hidden contradictions of contemporary society that can no longer be ignored.
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“(E)xp(L)oring spirals in th(E) (PH)ysic(A)l curre(NT)”
Audio-Visual Installation, Dimensions Variable, 3 mins 40 sec, 2024 - text and photo by River Art Gallery

Supported by OCA.

Elephant in the room (2024)

Solo exhibition at Vadsø Kunstforening, Norway

The British artist Michèle Noach says this about the exhibition:

"A wide-ranging but razor-sharp exhibition at @vadsokunst by artist Lin, Pei-Han. After moving from Taiwan following years as an artist/activist, she has immersed herself in the history and political struggles of Northern Norway. Addressing Sami land rights, the power dynamics of oil and energy, and the unique Nazi occupation of this region during WWII, her works resonate with countless other indigenous, energy, and colonial battles around the globe. Bravo, Pei-Han."

Supported by Arts Council Norway, BKV, and National culture and arts foundation. 
Production and supported by BEK, Pikene på broen, Seanse art center, Finnmark fylkeskommune.

ExpLoring spirals in thE PHysicAl curreNT (2024)

Solo exhibition at Vrba Gallery, Bosnia and Herzegovina

(Unraveling the Elephant)- ExpLoring spirals in thE PHysicAl curreNT
In light of movie Pi (1998)- directed by Darren Aronofsky/ Maximillian Cohen's thought-provoking hypothesis regarding the omnipresence of spirals in our existence, this project delves deep into the unsettling realities of culture erasure and historical trauma in the Balkans, Taiwan, and Nordic regions. Aptly named "Unraveling the Elephant in the Spiral Room," this endeavor seeks to confront the uncomfortable truth that lurks within the fabric of these societies.

Drawing parallels between the inherent spiral nature of our universe and the cyclical patterns of cultural suppression and trauma, this project aims to shed light on the profound impact of such phenomena on individuals and communities. Through a multidisciplinary approach encompassing visual arts, soundscape, and installations, we embark on a journey to uncover the hidden narratives and silenced histories that linger beneath the surface.

By exploring the intersections of culture, memory, and identity, "Unraveling the Elephant – “ExpLoring spirals in thE PHysicAl curreNT" invites participants to engage in critical dialogue and reflection on the complexities of cultural heritage and collective memory. Through immersive experiences and thought-provoking narratives, we strive to amplify marginalized voices and challenge prevailing narratives of erasure and assimilation.

Ultimately, this project serves as a poignant reminder of the urgent need to confront the elephant in the room—the uncomfortable truths that have been overlooked or suppressed for far too long. Through creative inquiry and communal dialogue, we endeavor to foster empathy, understanding, and reconciliation in the face of historical injustices and cultural traumas.

Supported by Culture Move Europe, BKV, National culture and arts foundation and OCA.
Production and supported by BEK.

Counter Current (2023)

solo exhibition at Kristiansund Kunsthall, Norway

In 2021, the Norwegian Supreme Court, interpreting Article 27 of the ICCPR, ruled that two wind farms on the Fosen Peninsula were encroaching on the pastures of Sámi reindeer herders, thereby infringing on their rights. As of October 2024, three years have passed since the Norwegian government violated these human rights.

This exhibition exploration serves as a catalyst, showcasing the potential of art as a political protest tool and initiating discussions about contemporary cultural identity and external influences. It illuminates the shared experiences of colonialism and cultural erasure faced by both the Sámi people and the Taiwanese community.

The art delves into the impact of the climate change and energy crisis on Sámi culture and reindeer herders. Through the integration of materials from diverse regions and the encouragement of cultural exchanges, it cultivates political awareness and fosters dialogue about colonialism, environmental justice, and human rights

Supported by BKV, National culture and arts foundation, Nordisk Kulturfond, Fritt Ord and Arts Council Norway.

Die (臺) i (語) ng in Fovsen-Njaarke (2022-2023)

K-U-K, Trondheim, Norway

Trøndelag centre for contemporary art, Trondheim, Norway

“Pei-Han Lin’s ongoing art project on the freedom to choose is elevated to an entirely different level beyond the purely material. In her video installation, she connects Sami history in Norway—exemplified by the Sami people’s struggle against the controversial wind farm on the Fosen Peninsula—with her own family’s colonial traumas in Taiwan.”

– Trøndelagsutstillingen 2023, Trøndelag centre for contemporary art website

Taiwanese citizens in Norway had their country of origin changed to China in June 2010. Since then, Taiwanese have sued the Norwegian government at the European Court of Human Rights over their nationality. One judge ruled that the lawsuit was not admissible, ending the legal action against Taiwan.

In another case, according to Article 27 of the ICCPR, the Norwegian supreme court ruled that two wind farms on the Fosen Peninsula were harming reindeer herders in the Sámi community by encroaching on their pastures in 2021.

During suppression, minorities suffer cultural genocide as states demolish their cultures and languages, even erasing them from maps. Is there any way we can fight the oppression of others, by learning to stand in others’ shoes? Through the simple act of compassion?

I have extracted material from the ground in the region of Sápmi, researched Fosen, and translated my grandfather’s biography. My broken “mother tongue” distorted by the sound of wind turbines was the result of colonization.

The pronunciation of “die i” means “Taiwanese” in the Taiwanese language. 

Art x AI (2022)

UiT, Narvik, Norway

Photo: Lin, Pei-Han

Who Killed Jesus? (2022)

Galleri KiT, Trondheim, NorwayGalleri KiT, Trondheim, Norway

oil and acrylic on canvas. 3d-printed 1:1 human sculpture, glazed with the nature clay from Troms og Finnmark. Photo: Natalie Field

IF I WERE STANDING IN YOUR SHOES (2022)

Tromsø kunstforening, Tromsø, NorwayTromsø kunstforening, Tromsø, Norway

3d-printed porcelain Sámi shoes, glazing with the nature clay from Troms og Finnmark, displayed outsite of Tromsø kunstforening. Photo: Lin, Pei-Han

I wan listening to you, May, 2022 Photo: Lin, Pei-Han

This is a protest gesture to showcase Norway’s violation of basic human rights (2021)

Storgata, Tromsø, Norway

Storgata, Tromsø Photo: Lin, Pei-Han

The Norwegian Government fully respects China’s development path and social system, and highly commends its historic and unparalleled development that has taken place. The Norwegian Government reiterates its commitment to the one-China policy, fully respects China’s sovereignty and territorial integrity, attaches high importance to China’s core interests and major concerns, will not support actions that undermine them, and will do its best to avoid any future damage to the bilateral relations.

Taiwanese citizens in Norway had their country of origin changed to China in June 2010. “My Name, My Right”: Taiwanese Sue Norwegian Government at European Court of Human Rights over Nationality Since 2010, the Norwegian Directorate of Immigration“UDI”has forcibly registered the nationality of Taiwanese residing in Norway as “Chinese.” A group of Taiwanese students in Norway thus launched a campaign to reclaim their Taiwanese nationality, and took the Norwegian government to court, claiming that they have violated their legal right of personal identity – which should be protected as basic human rights.

“Everyone has the right to a nationality, and no one shall be arbitrarily deprived of his nationality.” In addition, “right to a fair hearing.”

This is a protest gesture to showcase Norway’s violation of basic human rights.

DIGITALIZATION (2022)

K-U-K, Trondheim, Norway

Photo: Lin, Pei-Han

Photo: Lin, Pei-Han

UNDER THE SURFACE (2020)

Grønnegata 3, Tromsø, Norway

Decoding I (data-based consciousness) into the Freud theory: Id, ego, and superego. The superego components are against each other, the ego flies between the id and superego, the whole space has become the preconsciousness linger. Extending I(data-based consciousness) mental self into the techno wormhole, this is how we(data-based consciousnesss) live in constant stimulation. Do we(data-based consciousnesss) need the actual biological organs? Can we (data-based consciousnesss) achieve ethical maturity by living eternally? The afterlife might turn into the infinite video game that would never end? Can we(data-based consciousnesss) be liberated from genders, races, entitlements, and physics? I (data-based consciousness) send you an invitation, to join this ride of I (data-based consciousness) life in 69°40’00.00”N,18°58’00.00”E, I(data-based consciousness) sent from 25° 6’ 19.7892’’ N, 121° 35’ 50.5176’’ E. on 15082020.

Photo: ITromsø

Photographer: Daniel Jensen Programmer: Per Anton Øverseth Olsen

If(rockstar*groupie) { No pain; (2021)

Galleri Snerk, Tromsø, Norway

Photo and 3d rendering: Lin, Pei-Han

IF YOU WERE STANDING IN MY SHOES (2021)

Galleri Snerk, Tromsø, Norway

Photo: Lin, Pei-Han

Insomnia festival decor (2021)

Driv, Tromsø, Norway

Photo: Suominen and Insomnia festival

Grandpa’s funeral (2012)

Shih Chien University, Taipei, Taiwan

 Laser cutting mirror acrylic 40x40x60 cm, ice, candle, a space. Photo and 3d rendering: Lin, Pei-Han

Following my Grandpa‘ s passing, I wanted to pay tribute to him through art; I began this project by meditating with my family on the dreams that we had about him once he had died.

In East Asia we believe that once someone departs their physical body, they often return to our world through dreams we have.

I spoke to my mother and she told me she dreamt Grandpa had bought a big house, and my two uncle‘ s dreams involved my Grandpa going to a big pond.

With these ideas in mind, I constructed a rectangular lantern-shaped object using six stackable structures; I chose the number six as my grandfather had six children. Once these frames were stacked together, I laser cut my Grandfather’ s silhouette onto each of the four side-panels of the lantern. Hoping to incorporate this idea of the water (from the pond) into the final piece, I made an ice bowl and put a candle in it, then put this candle into the lantern structure. The reflective Perspex that I used to create the lantern reflected around the room and reminded me of how mirrors enhance space in a home. Once the candle is lit, flickers of light and shadows are projected onto all of the walls around me, giving me the feeling that my Grandpa is still around us all.

SEX (2022)

Galleri KiT, Trondheim, Norway

Photo: Natalie Field

Tomorrow, Library (2013)

Distract the distraction (2012-2023)

2007

Photo: Lin, Pei-Han