Fall in Love A Million Times 300 x 200 cm pigment print on canvas 2019
Project "Lov-Lov" turns from the dystopian to the Utopian. In the Lov-Lov world every kind of perfection is possible – and commercially available.
One part of the installation is a pharmacy showcasing mind-altering medications that offer perfect satisfaction, allowing customers to purchase and quickly experience feelings they deeply long for but have trouble attaining: love, respect, care, friendship, trust, gratitude, intimacy, and sense of connectedness. Lov-Lov does wide-scale social engineering through individualized shortcuts.
跨学科项目“Lov-Lov”从反乌托邦变成了乌托邦。在Lov-Lov的世界里，每一种完美都是可能的，并且都可以商业化。 药店是“Lov-lov”项目的一部分，展示着可以提供完美满足的药物，让顾客能够购买并迅速体验到他们内心深处渴望但难以实现的感受：爱、尊重、关心、友谊、信任、感激、亲密和归属感。
Lov-Lov通过个性化的捷径进行大规模社会工程。
LIN JINGJING
is a multimedia conceptual artist who frequently employs experimental narrative techniques to present a possible future infused with absurd imaginings and humor, juxtaposing contradictory facets to refract and challenge unresolved historical issues. In this realm, she contemplates and delves into the essence of personal politics, absence, gender, death, philosophy, dynamics of power, and trauma. Her works serve not only as invitations to meditative introspection but also as interventions into how we exist and love in our present lives, how we find meaning related to our own experiences.
Through her multidisciplinary practice, she utilizes objects, language, imagery, and drama to inquire into our roles and responsibilities as interdependent beings within our shared environment and the impact of media on contemporary culture. She delves deep into the complexities of technological neocolonialism, exploring the possibilities of constructing the future from challenging realities within a "non-place" global context. Her artwork spans installation, video, sound, animation, light, performance, sculpture, painting, drawing, coding, mixed media, and photography.
林菁菁是一位多媒体观念艺术家，运用实验性叙事呈现可能的未来，她常常在作品中注入荒谬的想象和幽默，将矛盾并置，以折射和挑战未解决的历史问题。
在这个领域，她思考并深入探讨了个人政治、缺席、性别、死亡、哲学、权力动态和创伤的本质。
她的作品不仅是对冥想的邀请，也是对我们如何在生活中存在和爱的干预，以及我们如何找到与我们自己的经验相关的意义。
通过她的跨学科实践，她利用物体、语言、图像和戏剧，来探讨我们作为相互依存的存在，在我们共享环境中的角色和责任，以及媒体对当代文化的影响。
她深入探讨了技术新殖民主义的复杂性，探索了从具有挑战性的现实中建构未来的可能性，在一个“非地点”全球背景下。她的艺术作品涵盖了装置、视频、声音、动画、光、表演、雕塑、绘画、绘画、编码、混合媒体和摄影。
We are One Decision Away From Tragedy 我们离悲剧只差一步决策
Installation Engraved on solid wood 2020
LED display panels as make part of the Take Off project, simulating Arrival and Departure boards. The brightly colored flight information on the screens scrolls according to the current time at the site of the installation.
LED显示屏作为“Take Off”项目的一部分，模拟到达和出发信息牌。屏幕上鲜艳的航班信息会根据安装地点的当前时间滚动显示。
We are Free to Choose but We Are not Free From the Consequences of Our Choices: Departures
200 x 250cm / LED display panel
We are Free to Choose but We Are not Free From the Consequences of Our Choices: Arrivals
200 x 250cm / LED display panel
This is an installation piece composed of 50 marble passports of 50 different countries, with the text and images from real passport covers faithfully engraved on much thicker marble at their original size. Passports are intended to prove the identity of the holder, demonstrating the legitimacy, recognition, and traceability of one's identity. Passports signify friendliness and establish that the holder is not a threat, allowing them to pass through customs. On the other hand, the heaviness, coldness, untraceability, and inability to flip through marble represent non-cooperation, non-validation, incommunicability, and refusal to compromise.
Using a material like marble to reproduce passports is an extreme paradox, where the meaning of individual identity is undermined, stripped, and erased, highlighting the unverifiability and disallowance of proof of identity.
装置作品“用户名或密码不正确”
是由50本大理石护照组成的装置作品，真实护照封面上的文字和图像被原样大小地刻在比实际护照厚得多的大理石上。护照的目的本是证明持有人的身份，证明某人的身份的合法性、受到承认和可追溯性。护照表明友好，并证明持有者不是危险人物，以便护照持有者被允许通过海关。而大理石的沉重、寒冷、无法追踪、不可翻页，表示的却是不合作，不证明，不可沟通，拒绝妥协。使用大理石这样的材质来重现护照是一种极端的悖论，个体身份的涵义被瓦解，被剥夺，被消失，突显身份的不可证明，不允许证明。当这样的个体，被穿着制服的同样已经丧失了身份的穿着制服的官员拒绝入境的时候，我们不禁询问，究竟是谁掌握着权利。
Part of Take Off. “Take Off”项目的一部分
Username or Password Incorrect (detail) Installation / 2017
Whatever Survives 生存之道 Installation
The Power of Fear 恐惧的力量 80x63 inches Acrylic on canvas 2020
The ongoing presence of violence, continuously employed as a quick and simple means of problem-solving, is disconcerting and disheartening. It represents a profound regression in our collective human nature and civilization. As Mahatma Gandhi wisely stated, "An eye for an eye will only make the whole world blind." This work invites reflection and transcending any primal instincts that drive us to resort to violence, calling for the collective wisdom of peace and understanding.
暴力的持续存在, 持续被作为一种快速简单的解决问题的手段是令人不安和沮丧的，它是我们集体人性和文明的深刻倒退。正如甘地的明智之语：以眼对眼的最终只会让整个世界失明。该作品邀请反思并超越任何驱使我们动用暴力的原始本能，呼吁和平和理解的集体智慧。
The Quick and Easy Way Installation 2017
One Hundred Percent Installation 2015 One Hundred Percent is an installation artwork that extensively utilizes clothing tags produced en masse in factories as a unique material. By magnifying it, the artwork boldly proclaims that fantasy is a promise and advertising associated with mass production, offering feedback that in the realm of material consumption, it's not just about the products themselves but also about imagination and emotion.The inspiration behind this installation artwork stems from witnessing the frantic pursuit of fast consumption and large-scale production in modern society, as well as people's excessive reliance on materialism. By enlarging what is typically an overlooked small item - clothing tags - into a colossal installation, the artwork seeks to convey a powerful message: we live in a world dominated by labels, packaging, and mass manufacturing, where these tags were once promises of dreams and fantasies.The name of this installation artwork, "one hundred percent," signifies a commitment of the highest purity, but it also carries a hint of irony, questioning whether this commitment is truly worthy of our trust. The artwork prompts viewers to reflect on their roles in the material world, the satisfaction they derive, and their relationship with reality.
"百分之百"
大量使用了工厂批量生产的服装标签作为别致的材料，放大地宣告了幻想作为批量生产的承诺和宣传，来反馈物质世界消费的不仅仅是商品本身，同时还有想象力和情感。这个装置作品的灵感来源于目睹现代社会对于快速消费和大规模生产的疯狂追逐，以及人们对于物质主义的过度依赖。通过将衣物标签这一通常被忽视的小物件放大成巨大的装置，作品试图传达出一种强烈的讯息：我们生活在一个被标签、被包装、被大规模制造的世界中，这些标签一度是对梦想和幻想的承诺。
这个装置作品的题目：百分之百意味着一种百分之百的最高纯度的承诺，隐含着一种讽刺，询问该承诺是否真的值得我们的信任？作品让观众反思自己在物质世界中的角色，满足感和以及我们和现实的关系。
One Hundred Percent Installation 2015
This installation consists of twelve vibrant, transparent, hollow acrylic glass boxes arranged in a row, forming a rainbow-like spectrum of colors. The text on the boxes, including book titles, authors, publishing houses, and a line of simple yet resolute promotional phrases, is sourced from twelve top-selling self-help books. These books instruct individuals on how to swiftly attain happiness and joy. The sales figures of these books are remarkable, but even more remarkable is the depth of helplessness hidden behind the intense yearning.
这件装置作品由十二个色彩鲜艳、透明、空心的丙烯酸玻璃箱组成，它们排成一排形成了彩虹般的色彩。箱子上的文字，包括书名、作者、出版社，以及一行简单坚定的宣传句，来自12 本真实出版的排名前列的畅销书，教导人们如何迅速地获得快乐和幸福，这些书籍的销量是惊人的，更惊人的是在强烈的渴望背后，有多少深切无助的人们。
This is Beginning of My Desperation Installation 2017
Zoom in Find my Digital Soul in This Cruel World
30 x 30cm Engraved marble stone
Project "Lov-Lov" turns from the dystopian to the Utopian. In the Lov-Lov world every kind of perfection is possible – and commercially available.
One part of the installation is a pharmacy showcasing mind-altering medications that offer perfect satisfaction, allowing customers to purchase and quickly experience feelings they deeply long for but have trouble attaining: love, respect, care, friendship, trust, gratitude, intimacy, and sense of connectedness. Lov-Lov does wide-scale social engineering through individualized shortcuts.
跨学科项目“Lov-Lov”从反乌托邦变成了乌托邦。在Lov-Lov的世界里，每一种完美都是可能的，并且都可以商业化。 药店是“Lov-lov”项目的一部分，展示着可以提供完美满足的药物，让顾客能够购买并迅速体验到他们内心深处渴望但难以实现的感受：爱、尊重、关心、友谊、信任、感激、亲密和归属感。
Lov-Lov通过个性化的捷径进行大规模社会工程。
No One Puts Their Children in A Boat Unless The Water is Safer Than The Land
The heart-wrenching realities endured by refugees, the heartbreaking sacrifices they make, and the profound sorrow of displacement are beyond the imagination of many bystanders. This work seeks to portray the courage and hardships of refugees/immigrants, to evoke empathy, understanding, and collective conscience. It refuses to let us forget the human cost of inaction and compels us to take meaningful steps towards a future where no one has to make such unimaginable choices
难民所经历的无情现实，令人心碎的牺牲，流离失所的悲伤，是很多隔岸观火的人们所无法想象的，该作品希望呈现难民/移民的勇气和困境，唤起同理心，理解，和集体良知，拒绝让我们忘记不作为的人类成本，并迫使我们采取有意义的步骤，走向一个没有人需要做出如此难以想象的选择的未来。
Lin Jingjing’s work perhaps alludes to art emerging in a different form. In terms of symbolic documentation, it has the power to restore certain things which have been lost, and in a certain way, to make them eternal.
Often an artist’s activities in conceiving and completing an artwork are aimed at neutralizing the destructive force of death, including every form of death, from the “microscopic” to the “massive”, from the most symbolic to the most real.
The power of art can truly turn death into an opportunity for rebirth. Perhaps there still remains a bit of anxiety. Collecting and recording a part of the body as an act of preservation has an almost eccentric, ritual order to it. No matter how complete and beautiful it appears, there is still the pressure of loss and fear.
The death of others and the disappearance of material things hit us so hard because they represent our own death. Losing loved ones and things forever is no different than a part of ourselves dying.
In this light, the funerals held for others are nothing more than a disguised form of mourning for the self.
It seems as if Lin Jingjing hopes to use her works to remove the veil that prevents us from seeing and recognizing this mechanism, bringing us directly into individual existence and the source of pain.
by Maurizio Giuffredi
林菁菁的作品: 我的365天，也许暗示艺术以其它形式出现和在象征记录上，使某些失去的东西复活的能力，以某种方式使它们永恒。
通常一个艺术家在构思和完成作品时的活动，几乎总是以抵消死亡的毁灭力为目的，包括任何种类死亡，从最'微小的'到最'巨大的'，从最象征性的到最实在的死亡。
艺术的力量确实可以使死亡成为再生的机会，也许还带着一丝忧伤和隐约不踏实的感觉，收集保存记录自己身体的一小部分的补救行为有着近乎神经质的仪式般的规律性，虽然尽善尽美，但表现的仍然是失落的恐惧和压力。
他人的死亡和物品的消失对我们的打击之所以如此巨大，是因为也代表着我们自己的死亡，不复存在的亲人和物品无异于我们自身的一部分已经死亡。因此为他人举办的丧礼，只不过是为自己致哀的一种伪装而已。
似乎林菁菁想以其作品扯去那层阻止我们看见和认清这个机制的面纱，直接引入个体的存在和伤痛之处。
--毛栗子.朱弗洛伊德
