林明弘 Michael Lin | 参与明珠美术馆群展《以花之名》｜Pearl Museum, Shanghai

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Michael Lin 

林明弘

·Show duration/展览时间: Aug 8 - Dec 6,2020, 8月8日-12月6日

·Curator/策展人：Dandan Li 李丹丹

·Location/地点：Pearl Art Museum,Shanghai 上海明珠美术馆

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BANK is honored to announce artist Michael Lin is participating in the contemporary art exhibition entitled "In the Name of Flower" curated by Shanghai Pearl Art Museum and inviting 25 important artists from all over the world to present paintings, photography, video, sculptures, installations, performances and colorful art creations related to the motif of "Flower".

For more than a decade, Michael Lin has been using vivid floral motifs mainly derived from traditional Taiwanese fabrics to cover a variety of surfaces, ranging from conventional canvases to large-scale walls. The resulting works are energetic, beautiful, and even poetic, and they often contrast starkly with their environments. Lin’s reintroduction of ornamental elements into the world of contemporary art from which they are often excluded has been a fresh and provocative strategy. By shifting public attention to something that for a long time has been considered backward, and even regressive, he prods us to revaluate the commonplace as an equally creative and therefore significant expression of imagination and beauty. The risk is that his work will be overlooked by the art community. However, those who might dismiss Lin’s projects as populistic—just pretty paintings of flowers—would miss Lin’s essential concern, which is not so much about painting as it is about public space and the role of the contemporary artist in the public sphere. In 2002 he acknowledged that his work had “moved away from the idea of painting as an object” and that he was “more interested in creating a painting as a space to occupy.

十多年来，林明弘一直在使用生动的花卉图案，这些图案主要来自台湾传统面料，覆盖从传统画布到大型墙壁的各种表面。产生的作品充满活力，美丽甚至诗意，并且经常与周围环境形成鲜明对比。林明弘将装饰元素重新引入经常被排除在外的当代艺术领域是一种新鲜而具有挑战性的策略。通过将公众的注意力转移到长期以来一直被认为是倒退甚至是回归的事物上，他促使我们重新评估这个平凡的事物，使其具有同等的创造力，因此是想象力和美感的重要体现。风险在于他的作品将被艺术界所忽视。然而，那些可能将林明弘的项目视为民粹主义的人（只是漂亮的花朵画）会怀念林明弘的本质问题，这与其说是绘画，不如说是关于公共空间和当代艺术家在公共领域的作用。2002年，他承认自己的作品“摆脱了将绘画作为对象的观念”，并且他“对创造绘画作为一种居住空间更加感兴趣”。

Michael Lin, Mingling, Towada Art Center，Japan, 2011

Lin’s homecoming to Taiwan in the early nineties was a turning point in his career, because it was then that he rediscovered the floral patterns of traditional Taiwanese fabrics. The patterns and the original processes of fabric design and production that he draws upon and is inspired by have survived harsh historical changes and evolved over time. Lin says, “I often spent time in the countryside with my grandfather when I was young. I still remember such textiles being used for bedding as [part of] women’s dowr[ies]; to me they also mark an age when Taiwan was transferring from handcrafted modes of production to industrial production, from rural to urban.”

林明弘从一开始就强调工作的公共维度，正如他在早期项目中所看到的，例如伊通公园的《室内》（1996）和 Dimension 基金会的《互补》（1998）。在继续工作中对台湾传统织物的调理和诠释的同时，林明弘逐渐扩展了他的方法，采用了在概念上和结构上与现场特定的新项目。几乎所有这些项目都是装置，它们不仅以与场地特征密切相关的形式占据其指定地点，而且还具有功能性：它们将他的作品制作成平台和基础设施，旨在促进来访公众的各种社会交流和活动。

林明弘，《无限》《019》《无题》《梅斯卧榻》，明珠美术馆《以花之名》群展现场，2020

Micharl Lin, Unlimited, 019, Untitled, Metz Daybed 

Installation view at Pearl Museum, 2020

林明弘《无限》，装置，壁纸，尺寸可变，2002

Unlimited, Installation, Wallpaper, Dimension variable

林明弘《019》绘画，布面丙烯  Acrylic on canvas，2009

林明弘《梅斯卧榻》装置，乳胶漆木板，枕头，2010

Metz Daybed, Installation, Emulsion on wood, pillows

©️明珠美术馆《以花之名》群展现场，2020

Installation view@Pearl Museum, Shanghai 

林明弘对公共艺术的投入尤为重要，私有化和士绅化正大幅减少公众可用的城市空间数量。虽然当代城市确实越来越注重设计，但它们的壮观往往是自由资本主义实现城市秩序的结果，而不是旨在促进公众享受和自由的环境改善。在这样一个矛盾的语境中，林明弘的作品在不排斥壮观语言的情况下，成功地提出了涉及社会生活和公众互动的原型作品，从而开启了一场关于当代艺术生产中公共艺术性质的辩论。

Lin’s commitment to the public’s engagement with his art is particularly significant because of how privatization and gentrification are drastically reducing the number of urban spaces available to the public. While it is true that contemporary cities are increasingly design-oriented, their spectacularity is often the result of a liberal-capitalist realization of the urban order rather than environmental improvements aimed at facilitating public enjoyment and freedom. In such a contradictory context, Lin’s work, without rejecting the spectacular language, has successfully proposed prototypical works addressing social life and public interaction and thus opened a debate about the nature of public art within contemporary art production.

虽然他远不是一名社会活动家，但他一直在通过实施一些极具创造性和聪明的解构策略来协调艺术完整性和既定制度权力之间的冲突。在倾向于关闭现实世界大门的艺术机构中，他的边界扩张干预措施打乱了管理特定空间功能的现有协议，打乱了机构的等级制度：他在Kiasma博物馆的展厅放置了一张沙发床，让人们可以在画廊里休息、沉思，甚至睡觉；他在东京宫(Palais De Tokyo)创建了一家咖啡馆；他在纽约现当代艺术馆的P.S.1和上海美术馆安装了滑板坡道。这些项目不仅为参观者提供了轻松、舒适、欢快、漂亮的设计和装饰空间，方便了他们的会面和互动，还允许-甚至鼓励-公众在艺术机构的神圣空间进行通常被认为无关紧要甚至不合适的行为，这个空间通常被认为是自治的，与现实生活隔绝。

Although he is far from being a social-political activist, Lin has been negotiating the conflict between artistic integrity and the power of the established system by implementing some highly inventive and intelligently deconstructive strategies. In the art institutions that tend to close their doors to the real world, his boundary-expanding interventions serve to interrupt the existing protocols governing the functions of particular spaces and upset the hierarchy of the institution: he placed a daybed in the exhibition hall of the Kiasma Museum to allow people to rest, contemplate, and even sleep in the gallery; he created a coffee shop in the Palais de Tokyo; and he installed skateboard ramps in P.S.1 and the Shanghai Gallery of Art (Three on the Bund). These projects not only provided visitors with easy, comfortable, convivial, and beautifully designed and decorated spaces that facilitated their meetings and interactions, but also allowed—and even encouraged—the public to carry out actions that are often considered irrelevant or even inappropriate in the sacred space of the art institution, a space that is generally supposed to be autonomous and cut off from real life.

林明弘《无题》2007，布面丙烯，180 × 180 厘米

Michael Lin, Untitled, 2007, Acrylic on canvas, 180x180cm

©️明珠美术馆《以花之名》群展现场，2020

Installation view@Pearl Museum, Shanghai 

Text Reference 文字参考：

What about sleeping in a show? Written by Hou Hanru 《在展览中睡一觉怎么样？》撰文/侯瀚如
(link:https://www.ateliermichaellin.com/articles/hou-hanru--what-about-sleeping-in-a-show) 

Michael Lin, public artist Written by Hou Hanru《林明弘，公共艺术家》撰文/侯瀚如

https://www.ateliermichaellin.com/articles/hou-hanru--michael-lin-public-artist

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