從「AI伊甸園」到「柔性迴路」，林珮淳《夏娃克隆》系列頻獲國際奬捷報，勇奪歐美亞「展覧與活動」類四大國際金獎最高榮譽
2026年，臺灣新媒體藝術家林珮淳以《夏娃克隆》系列作品持續在國際舞台傳出捷報。繼《夏娃克隆創造計畫I》於2019年榮獲義大利第12屆佛羅倫斯雙年展「新媒體藝術類」全球首獎「羅倫佐獎第一名」（Lorenzo il Magnifico）後，近年更接連獲得英國、德國、義大利等國際影展最佳影片首奬。今年，林珮淳於中原文創園區推出的個展《夏娃克隆：林珮淳的AI伊甸園》，更一舉獲得法國設計獎、美國MUSE繆思設計獎、日本東京設計獎及英國倫敦設計獎四項國際設計獎之「概念設計－展覽與活動」類金獎，再度寫下臺灣科技藝術創作與策展的國際亮眼成績。來自歐洲、亞洲與美洲的國際評審，分別從展覽概念、視覺語言、空間體驗、策展整體性及創新性等面向給予高度評價。這不僅是對林珮淳多年科技藝術創作的肯定，也凸顯《夏娃克隆：AI伊甸園》在藝術創作、科技整合與展覽策劃上的完整性與國際競爭力，為臺灣新媒體藝術在國際設計與策展領域再添重要紀錄。
藝術家林珮淳。圖 / 林珮淳提供。
《夏娃克隆創造計畫 I 》
林珮淳夏娃克隆系列《夏娃克隆創造計畫l 》榮獲義大利2019年第12屆佛羅倫斯雙年展新媒體藝術類全球首獎「羅倫佐獎第一名」
媒材: 大型投影裝置、數位影音、3D動畫、多媒體播放器、投影機 、音響
依場地而定
年代: 2016
時間: 9:00
《夏娃克隆：林珮淳的AI伊甸園》於2026年在中原文創園區14號倉庫展出，由知名策展人、前臺北當代藝術館館長石瑞仁策展。他為本展命名《夏娃克隆：林珮淳的AI伊甸園》並指出，本展以「感知模式」為起點，透過入口的儀式感、核心展場的劇場性、沉浸空間的多媒體經驗，以及AI新作的生成影像，共同構築一場「寓言之旅」。展覽完整呈現林珮淳《夏娃克隆》五大系列，包括「人獸合體系列」、「大偶像系列」、「創造計畫系列」、「萬湖會議系列」與「巴別塔系列」，並於中原文創園區14號倉庫打造六個「臨界場景」：入口儀式區、核心夏娃劇場、沉浸空間、54個Al頭像巨大投影場、AI新作區，以及藝術家回顧文獻區。觀眾穿梭於六大場景之間，如同進入一本被重新建構的科技寓言之書，在宏大的光影、聲音、影像與互動經驗中，重新思考人類與科技、自然、權力及文明之間的關係。
《夏娃克隆系列－林珮淳的AI伊甸園》展場實景。圖 / 藝術家提供。
石瑞仁表示，觀眾既能在宏大光影中感受震撼，也能透過互動裝置留下自身的數位痕跡，使科技議題從抽象概念轉化為個人經驗，而這正是林珮淳二十多年科技寓言創作的核心關懷。因此，她的作品在數位藝術界獨樹一格，具有藝術性、學術性與技術性的三高特質，是用最先進的科技來批判科技。林珮淳身為虔誠的基督徒，是用藝術在傳道、傳藝術。
《夏娃克隆大偶像 II》
媒材: 3D 動畫、互動感應系統、3D 列印、投影、音響
尺寸：依場地而定
年份：2025
得獎內容參考
▪MUSE Design Awards：https://share.google/Miax8hXXxmLkPicU8
▪Tokyo Design Awards：https://share.google/vm7M4IH9Ff6ay1IBX
▪London Design Awards：https://share.google/J9pS0wq32TpOX5xz8)
▪French Design Awards：https://frenchdesignawards.com/winner-info.php?id=4368
台新藝術基金會董事長鄭家鐘在〈由林珮淳的夏娃克隆系列看數位時代文藝復興的方法論〉一文中也指出，林珮淳長期關注的是一個古老、卻在當代科技環境下更加迫切的問題：當人類不斷介入、模擬甚至試圖取代自然與造物的秩序，我們是否也正在將原本完整而複雜的生命與倫理結構，轉化為可以操控、後製與重新編碼的對象？從性別、身分、形象到價值，人類的一切似乎都可以被轉換、調整與設計。這不只是科技進步所帶來的變化，更是一種存在狀態的改變。而這也正是《夏娃克隆》系列最深層的問題意識：當人類逐漸擁有「創造」的能力，我們是否也正在重新定義「造物者」與「被造者」的關係？（林珮淳個展：夏娃克隆系列mdash林珮淳的AI伊甸園 https://share.google/0rE39TZHj7qMGCmpb)
《夏娃克隆：林珮淳的AI伊甸園》展出後，林珮淳再受邀參與由臺灣女性藝術協會理事長王玉齡策展，於羅東文化工場舉辦的「柔性迴路：臺灣女性當代新媒體藝術展」，持續以《夏娃克隆》系列回應當代科技、女性、身分與文明等議題。（「柔性迴路：臺灣女性當代新媒體藝術展」https://share.google/Xk8fxHAQYmmisr9Gv)
其中，《夏娃克隆萬湖會議》榮獲2026獵戶座國際電影節（Orion International Film Festival）AI影片類決賽入圍；《夏娃克隆巴別塔II》則陸續獲得2026柏林短片獎準決賽入圍、夏威夷國際電影獎準決賽入圍、巴黎國際短片影展準決賽入圍、卡加利獨立電影節決賽入圍、坎城藝術電影節提名入圍，以及紐約國際女性影展準決賽入圍與「全球電影競賽」最佳影片表彰獎等多項國際肯定。
《夏娃克隆巴別塔I、II 》
媒材: 3D動畫、數位音樂、古圖、Al軟體、舞者與動作捕捉系統
年份：2023、2026
時間: 9分30秒
從2019年佛羅倫斯雙年展全球首獎，到2025年英國、德國、義大利影展最佳影片獎，再到2026年歐美亞四大國際設計獎及多項國際影展入圍，《夏娃克隆》系列持續跨越藝術、科技與影像等不同領域，在國際評審與不同文化脈絡中一致獲得肯定。
對林珮淳而言，這些獎項不僅是個人創作生涯的重要里程碑，也見證了臺灣科技藝術從數位創作、沉浸式展演到AI藝術與跨域策展的持續發展。二十年來，《夏娃克隆》不斷從「人是誰？」、「誰在創造人？」以及「當科技取代自然，人類將走向何方？」等核心提問出發，持續推進其對科技文明與人類未來的藝術寓言。
2026年，《夏娃克隆》系列仍在持續生成、變異與進化；而林珮淳也以她獨特的科技藝術語言，持續在「人」與「獸」、「創造者」與「被造物」、「自然」與「人工」之間，建立一座至終將被神終結的大巴比倫城與巴別塔。
《夏娃克隆萬湖會議 I、II》
媒材: 3D 動畫、AI 軟體、照片、YouTube 影片
時間: 4 分 43 秒
年份: 2024、2026
英文版本請見第二頁
Please refer to the English version on page 2. @P
From ldquoAI Edenrdquo to ldquoSoft Circuitsrdquo: Pey-Chwen Linrsquos Eve Clone Series continues to win Top Gold Honors in Four Major International ldquoExhibition amp Eventsrdquo Awards Across Europe, America, and Asia
In 2026, Pey-Chwen Linrsquos Eve Clone series continues to receive international recognition. Following ldquoMaking of Eve Clone Irdquo, which won the Grand Prizemdashthe Lorenzo il Magnifico First Prizemdashin the New Media Art category at the 12th Florence Biennale in Italy in 2019, Lin has in recent years received the Best Film awards from international film festivals in the United Kingdom, Germany, and Italy.
This year, Linrsquos solo exhibition ldquoEve Clone: Lin Pey-Chwenrsquos AI Edenrdquo, presented at Chung Yuan Cultural and Creative Park, received an unprecedented four Gold Awards in the ldquoConcept DesignmdashExhibition amp Eventsrdquo category from four major international design awards: the French Design Awards, MUSE Design Awards in the United States, Tokyo Design Awards in Japan, and London Design Awards in the United Kingdom.
Reference for Award Content
▪ French Design Awards：https://share.google/FCWJ1NYjUEClOqLqL
▪ MUSE Design Awards：https://share.google/Miax8hXXxmLkPicU8
▪ Tokyo Design Awards：https://share.google/vm7M4IH9Ff6ay1IBX
▪ London Design Awards：https://share.google/J9pS0wq32TpOX5xz8
Artist-Pey-Chwen Lin. copyPey-Chwen Lin
ldquoMaking of Eve Clone Irdquo
Pey-Chwen Linrsquos digital audio and video installation, Making of Eve CLone I, was awarded the First Prize in the category of New Media Art at the 2019 Florence Biennale in Italy.
Media: Digital Image and Sound Installation, Computer, Media Player, Projector, Stereo
Dimensions Variable
Year: 2016
International juries from different countries and perspectives all highly praised the exhibition for its exhibition concept, visual language, and curatorial coherence. These awards not only recognize Linrsquos achievement of decades-long practice in new media art, but also demonstrate the artistic, technological, and curatorial integrity in Taiwanese contemporary art.
This solo was curated by renowned curator JJ Shih, former director of the Museum of Contemporary Art Taipei. Shih gave the exhibition its title quotEve Clone: Lin Pey-Chwenrsquos AI Edenrdquo. He stated that the exhibition design expands the viewerrsquos sensory and experiential modes. Ritualistic entry, a theater-like core space, an immersive multimedia chamber, and newly created AI works construct a sequential ldquoallegorical journey.rdquo Viewers may be overwhelmed by monumental imagery but also leave their digital traces through interactive stations, turning the artistrsquos inquiries into personal experiences.
For over two decades, Linrsquos Eve Clone series has grown into a comprehensive system of technological allegories. Five major series presented to reflect ongoing evolution of Eve Clone Series include Human-Beast Hybrids Series, Great Image Series, Making of
Eve Clone Series, Wannsee Conference Series and Tower of Babel Series. Shih has analyzed four ideological axes running through her works: rooted in faith, mediated by technology, expressed through allegory, and aimed at critique.
ldquoEve Clone Series: Lin Pey-Chwenrsquos AI EdenrdquocopyPey-Chwen Lin
Although Linrsquos works draw inspiration from Christian allegories, the motivation and purpose of her creation is not only ldquomissionary workrdquo, but also an intentional use of the allegory of ldquoGenesisquot to examine the potential crises of technological civilization. For example, the ldquoMaking of Eve Clonerdquo series directly focuses on the ethical contradiction of ldquorecreating lifequot: Eversquos body is disassembled, reconstructed, and proliferated by technology, symbolizing the intervention of human desires, which has destroyed the order and boundaries of sacred creation. On the other hand, the ldquoGreat Image of Eve Clonequot series aims to present how technological civilization can mold itself into a ldquonew idolquot challenging heaven: this great idol is not an imitation of faith, but an allegory of civilizationmdashhumanity is cleverly using new technology to reenact the ancient and decadent drama of ldquoidol makingquot!
Therefore, it can be said that ldquofaithquot in Linrsquos work is a ray of light illuminating the world. She re-examines the power of technology through the context of faith, amplifying ldquocreation,quot ldquobody,quot and ldquoethics.quot Her work indeed occupies a distinctive position in the field of digital art, characterized by a high degree of artistic, academic, and technological sophistication. She uses the most advanced technologies to critique technology itself. As a devout Christian, Lin uses art both to preach and to convey art.
In the essay ldquoA Methodology for a Digital Renaissance through Lin Pey-Chwenrsquos Eve Clone Series,rdquo Chia-Chung Cheng Chairman of the Taishin Arts Foundation, also points out that Lin has long explored an ancient question that has become increasingly urgent in todayrsquos technological environment: as humanity continually intervenes in, simulates, and even attempts to replace the order of nature and creation, are we also transforming the originally complete and complex structures of life and ethics into objects that can be manipulated, post-produced, and re-coded?
From gender, identity, and representation to values, almost everything human appears capable of being transformed, adjusted, and designed. This is not merely a change brought about by technological progress it represents a transformation in the very condition of existence. This is precisely the deepest concern underlying the Eve Clone series: as humanity gradually acquires the ability to ldquocreate,rdquo are we also redefining the relationship between the ldquoCreatorrdquo and the ldquocreatedrdquo?
ldquoGreat Image of Eve Clone IIrdquo
Medium：3D animation, interactive System , 3D printing, projection, sound
Size：Variable
Year：2025
Following Eve Clone: Lin Pey-Chwenrsquos AI Eden, Lin was invited to participate in ldquoSoft Circuits: Contemporary New Media Art by Taiwanese Womenrdquo exhibition, curated by Yu-Ling Wang, Chairwoman of the Taiwan Womenrsquos Art Association, and presented at Luodong Cultural Working House. Through the Eve Clone series, Lin continues to engage with contemporary issues surrounding technology, women, identity, and civilization.
Among the works in this exhibition, ldquoEve Clone Wannsee Conferencerdquo was selected as a finalist in the AI Film category of the 2026 ORION International Film Festival. ldquoEve Clone Babel IIrdquo subsequently received multiple international recognitions, including a semifinalist position at the 2026 Berlin Short Film Awards, semifinalist positions at the Hawaii International Film Awards and Paris International Short Film Festival, finalist status at the Calgary Independent Film Festival, a nomination at the Cannes Art Film Festival, a semifinalist at the New York International Women Festival, and the winner of ldquoAward of Recognitionrdquo in the Global Film Competition.
ldquoEve Clone Babel I,IIrdquo
Media: 3D animation, digital music, ancient images, AI software, dancers and motion capture systems
Year: 2023
Duration: 9:30
For Pey-Chwen Lin, these awards are not merely important milestones in her artistic career. They also testify to the continuing development of Taiwanrsquos technology artmdashfrom digital creation and immersive exhibition to AI art and interdisciplinary curatorial practice. From the Grand Prize at the Florence Biennale in 2019, to Best Film awards at film festivals in the United Kingdom, Germany, and Italy in 2025, and then to four major international golden awards across Europe, America, and Asia, together with numerous international film-festival selections and nominations in 2026, the Eve Clone series continues to cross boundaries between art, technology, and film. Its recognition by international juries across diverse cultural contexts demonstrates the projectrsquos continuing relevance and international resonance.
For more than two decades, Eve Clone has continually evolved from fundamental questions such as ldquoWho is human?rdquo, ldquoWho creates humanity?rdquo, and ldquoWhen technology replaces nature, where will humanity go?rdquo Through these questions, Lin continues to develop an artistic allegory concerning technological civilization and the future of humanity.
In 2026, the Eve Clone series continues to generate, mutate, and evolve. Through her distinctive language of new media art, Lin Pey-Chwen continues to construct, between ldquohumanrdquo and ldquobeast,rdquo ldquocreatorrdquo and ldquocreated,rdquo and ldquonaturerdquo and ldquoartifice,rdquo a great Babylonian city and Tower of Babelmdashone that will ultimately be brought to an end by God.
ldquoEve Clone Wannsee Conference I, IIrdquo
Medium :3D animation, AI software, photographs, YouTube footage
Duration: 4:43
Year : 2024、2026