林天苗個展

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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中國卅年裝置藝術的發展歷程裡,談起「林天苗」這個重量級的名字,大抵離不開絲線纏繞的創作語言;閱讀討論作品概念的文章評析,更不乏細究內含的象徵符號與意義。本次於路由藝術展演的經典系列——《看影》、《黑白灰》、《藍色架構》、《陷阱系列》、《失與得》——也延續了藝術家對纏繞的堅持、對日常器物的拆解與重構。

舉世動盪的年代,總使人們開始思考國家與社會的未來,林天苗與其同為藝術家的先生王功新即於八零年後離開中國,落腳紐約。身處西方當代藝術中心,林天苗能夠汲取當時最前端、具豐沛能量的藝術氛圍為養分,培養視覺語言的敏感度與掌握度,作品自然散溢的莊嚴與洗鍊,或許便是自此開始發展。當自半球外的異鄉回視故土,那種遠望而非漠視的目光,更使她的作品不自覺滲漏一股寧靜,而不似多數中國裝置藝術家的作品滿佈激情與鼓動。

絲線作為字詞、纏繞作為輸入法則,這個選擇早已透露創作者行文的動機,即便未刻意走向與陰性氣質相連的發展;而恰與如此寧靜視覺感受相反的,是林天苗將「來回反覆勞動」透過媒材顯現出來的創作過程,精緻、縝密且不失秩序的畫面則隱晦地串起個體行為與集體現象,同時觸及純粹美感的頂點;爾後裝置進入空間,參訪者建立在經驗與價值上的詮釋解讀,巧妙地扮演了縫合外在體驗與內在意義的最後一針。於是,無論在初階段的使用元素、再者結構與畫面訊息、空間裡的呈現與被體驗上,皆能顯現林天苗作品視覺與意涵高度契合的事實。

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.