mgluw tuqiy na Temahahoi 找尋迭馬哈霍伊的路徑 Finding Pathways to Temahahoi
Solo show: Artspace, Aotearoa, Tāmaki Makaurau Auckland, Aotearoa New Zealand, 10 Jun – 6 Aug 2022
Work exhibited:
My Land, Glitch me
Pswagi Temahahoi
Perhaps, She Comes From/To ____ Alang
The
Land in the Middle of the Pond
Raw ⇆ Ripened ⇆ Happiness
生 ⇆ 熟 ⇆ 福
Tgayaw Wagi
太陽躺下了
“Lins’ artwork takes us on a journey into Temahahoi; a legendary place where only women live. Lin recalls memories, dreams, and stories with elders of Temahahoi in her multimedia installation of performance, moving image, and cyberspace to interrogate sovereignty, and ways to imagine a space for connection in the wake of displacement and disconnection” (Curator Daniel John Corbett Sanders, 2022).
“It becomes evident that rather than asking for a queer future by vague means, Lin demonstrates. Rather than asking, Lin fashions tools. Addressing the weight, brutality, and seeming ‘stuckness’ of history, the tools required are manifold. This is wayfinding by the light of pre-colonial oral tradition afterall, in order to clear a path that others can follow or explore for themselves. Lin traverses the winding trail and treacherous terrain of tracing a way back to Temahahoi, and in return demonstrates what it means to shift: to navigate, to call back and to walk forward effortlessly, at the exact same time” (Jo Bragg, p. 35, The Art Paper, Issue 03, 2022).
“It becomes evident that rather than asking for a queer future by vague means, Lin demonstrates. Rather than asking, Lin fashions tools. Addressing the weight, brutality, and seeming ‘stuckness’ of history, the tools required are manifold. This is wayfinding by the light of pre-colonial oral tradition afterall, in order to clear a path that others can follow or explore for themselves. Lin traverses the winding trail and treacherous terrain of tracing a way back to Temahahoi, and in return demonstrates what it means to shift: to navigate, to call back and to walk forward effortlessly, at the exact same time” (Jo Bragg, p. 35, The Art Paper, Issue 03, 2022).
Photography by Seb Charles and Julia Lin Kingham