Lin Tianmiao Solo Exhibition
展覽時間 Duration：2017 年 10 月 21 號 ( 六 / Sat. ) 至 2018 年 1 月
開幕茶會 Opening Reception：2017 年 10 月 21 號 ( 六 / Sat. ) 18:30
藝術家 Artist：林天苗 Lin Tianmiao
地點 Venue：台北市中正區金山南路一段67巷5號1樓 No. 5, Lane 67, Section 1, Jinshan South Rd, Zhongzheng District, Taipei
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倘為林天苗的作品概念劃定類別，多是尋求人們身份認同、性別意識及身體語言的社會性探問，且不斷加諸「女性藝術家」的稱謂於其作品敘事之脈絡中。事實上，即便泯棄這些前賢給予描述的標籤，也絕不妨礙閱讀林天苗作品時的流暢度，那是建立在技巧表現純熟與意涵準確拿捏的基礎上，才能擁有的高度完整性。他的作品早已受到紐約現代藝術博物館（Museum of Modern Art）、布魯克林美術館(Brooklyn Museum)、舊金山現代藝術博物館（San Francisco Museum of Modern Art）、新加坡藝術博物館（Singapore Art Museum）及澳洲國立美術館（National Museum of Australia）等數十間國際級藝術機構典藏肯定。
In the thirty-year development of Installation Art in China, when the name LIN TIAN MIAO is mentioned, it is inevitable to talk about her language of winding thread and the underlying symbols while we peruse related articles and critiques. This year in NUNU FINE ART, LIN will have her classic series “Seeing Shadow”, “Black-White-Grey”, “Blue Infrastructure”, “Meshes Series”, and “More or Less the same” in the show, which embody the artist’s insistence on the the winding elements and the deconstruction of the artifacts.
The turmoil always invites people to think about the future of the country and the society. LIN and her husband WANG GONG-XIN, who is known as one of the first artists to experiment on the medium of video art in China, left their hometown and resettled in New York in the 1980s. Living in the center of Western Contemporary Art, LIN is capable of transforming the most pioneering, abundant artistic atmosphere into the nutrients for cultivating her own sensitivity and mastery of the visual language. The solemn and the succinct overflow out of her works and perhaps are unfolded from this experience. In Comparison to other Chinese Installation artists’ woks that are loaded with passion and agitation, LIN’s gaze afar, a hemisphere away from the homeland with no indifference, which makes her works exude a sense of tranquility.
Using threads as phrases, the winding as input method, this choice has already revealed the motive of the creator, even though the work itself does not develop a feminine temperament deliberately. LIN then uses the threads to visualize the winding process through repetitive physical actions; refined, meticulous, and orderly landscape strings up the individual behavior and the collective phenomenon, arriving at the point of pure beauty. After the works are placed into space, the interpretation built up by visitors’ experience and value plays as the last stitch that integrates the external experience and internal meanings. Thus, it shows that LIN’s works reach harmony between its visual and context languages, from the initial stages of using materials, through constructing messages, to being experienced as a whole in a space.
If we try to categorize LIN’s concepts behind her works, it touches upon the social inquiry of the identity, gender issues, and physical languages; besides, the title of a “female artist” will also be tagged to her works to understand the narratives behind the creation. If we remove these labels given by people, the fluency of LIN’s works is still seen by the audience, meaning that the works are created with mature skills and precise control. A high degree of integrity is manifest. LIN’s works have been collected by MoMA, NY, Brooklyn Museum, SFMoMA, Singapore Art Museum, National Museum of Australia, and other dozens of international art institutions.