林大艺术中心宣布参加今年北京当代艺博会 Beijing Contemporary Art Expo, 荣幸带来来自中国的艺术家毛旭辉、苏新平、王璇、薛松、肖红、朱伟、张林海的作品，并将于众望单元呈现来自印度尼西亚著名雕塑艺术家 纽曼·努亚塔 ( Nyoman Nuarta) 的雕塑作品，期待届时与您相会！
Linda Gallery is pleased to present the artworks by Chinese artist Mao Xuhui, Wang Xuan, Xue Song and Xiao Hong at Booth 3·13, and a sculpture by Indonesian artist Nyoman Nuarta at the WONDER part. We're looking forward to meeting you!
展位 BOOTH : 3 . 13
贵宾预览 VIP PREVIEW
10/13 星期三 15:00-19:00
10/14 星期四 11:00-18:00
公众开放 PUBLIC DAYS
10/15 星期五 11:00-18:00
10/16 星期六 11:00-18:00
10/17 星期日 11:00-18:00
圭山写生 - 山坡上的核桃树，布面油画，120 x 170 cm, 2010
Walnut Tree on the Hill, Oil on canvas, 120 x 170 cm，2010
半剪刀（蓝色），布面油画，196 x 195.5 cm, 2011
Half Scissors (Blue), Oil on canvas, 196 x 195.5 cm，2011
迷彩2003伊拉克之二，布面油画，190 x 200 cm, 2006
Camouflage 2003 Iraq No.2, Oil on canvas, 190 x 200 cm，2006
Mao Xuhui uses realistic style to express his ideas but his works are not of realism. This leads to many art critics misinterpretation and categorized his works as Expressionism. From the European perspective of European Arts, his paintings falls into the category of Realistic Expressism. His artworks meant to express one’s intellectual depth in traditional visual arts.
For Mao Xuhui, the element of scissors is a daily supply at first, but it symbolizes the power and strength that is everywhere in daily life. He took it as a kind of weird symbol, collage in various real life scenes, to express his anger and unease. However,he gradually began to pay more attention to the shape of scissors and its functionality, which mean the meaning of the element itself. In his words, he "did not draw scissors, but the shape of some scissors". He deliberately uses the expression of flat coloring, so that the seemingly clear shape is removed from the practical meaning of the object itself, and its symbolic meaning is emphasized.
假日一号，布面油画，194 x 130 cm, 1999
Holiday No.1, Oil on canvas, 194 x 130 cm，1999
干杯系列之48，布面油画，180 x 120 cm, 2008
Toasting No.48, Oil on canvas, 180 x 120 cm，2008
Su Xinping's interests have focused more on the thinking and contemporary transformation of traditional Chinese painting concepts and methods, as well as the possibility of personal artistic language transformation.Through continuous knowledge and refinement of the language that he is most familiar with, He finds his own artistic expression language, and in the process of re-understanding and comprehending the spirit and concept of traditional Chinese painting, he strives to achieve a contemporary transformation of concepts, so as to achieve To achieve the purpose of personal unique artistic language. His artistic concept is based on the reflection and practice of life. In the increasingly fierce competitive environment, people strive to break through the self-struggling life state.
王璇 Wang Xuan
无题，布面丙烯，70 x 60 cm，2020
Untitled, Acrylic on canvas, 70 x 60 cm, 2020
Wang Xuan, born in 1979 in the province of Guangxi, China, creates in his small to medium-sized works his very own world of images. With great painterly precision, set-like individual elements are combined into still-life-like pictorial spaces, in which the painter fuses surrealistic images with objects from European and Asian art history to create imaginative works of art.
纠缠系列 1，布面油画，160 x 180 cm，2021
Entangled 1, Oil on Canvas, 160 x 180 cm, 2021
纠缠系列 2，布面油画，160 x 180 cm，2021
Entangled 2, Oil on Canvas, 160 x 180 cm, 2021
Xiao Hong has expressed the spatial manifestation of historicity in his works, establishing the meeting point of multiple space-time continum on techniques of oil painting has progressed, from the qualities of the mediuum on the two dimensional expanse of a canvas. In this way, his techniques of oil painting has progressed, from an early prioritization of qualities of giving importance to the rendering of multiple space-time complexes.
在荷塘边吟诗，综合材料 拼贴，120 x 100 cm，2006
Reciting Poem Beside The Lotus Pond, Collage/Canvas, 120 x 100 cm, 2006
开国大典，综合材料，135 x 175 cm，2005
PRC Founding Ceremony, Mixed-media on canvas, 135 x 175 cm, 2005
薛松于1965年出生于中国安徽，为中国当代波普艺术主要代表之一。薛松最初的艺术实验始于1980年代。当时中国现代艺术运动如火如荼，波普艺术 (Pop Art) 等挑战传统美学的思想亦随中国改革开放启发不少中国艺术家。那时薛松开始尝试创造新的艺术概念，一直努力寻找个人艺术的独特性。「燃烧」和「拼贴」成为薛松独一无二的艺术语言，并由此创作了关于社会、政治、传统、人文、时尚、审美等不同议题的作品。
Xue Song, born in 1965 in Anhui, China, is one of the main representatives of Chinese contemporary pop art. Xue Song's initial artistic experiments began in the 1980s. At that time, China modern art movement was in full swing. Pop Art and other ideas challenging traditional aesthetics inspired many Chinese artists with China's Reform and Opening-up. At the same time, Xue Song began to try to create new artistic concepts, and always trying to find the uniqueness of his personal art. "Burning" and "Collage" have become Xue Song's unique artistic language, from which he creates artworks on different issues such as society, politics, tradition, humanity, fashion and aesthetics.
China China，铜，135 x 70 x 90 cm，2019
中国 中国, Bronze, 135 x 70 x 90 cm, 2019
Zhu Wei was born in 1966 in Beijing, China, and was the first artist to introduce fine brushwork painting techniques into the Chinese contemporary art field. His artworks have been collected by more than 20 art galleries and museums around the world. When a large number of Chinese emrging artists used oil painting to create "political pop" and "satirical realism" works, he began to explore the possibility of using traditional fine brushwork paintings to show the political and social life of contemporary China. The characters in Zhu Wei's works are grotesque, with absurd but lightly warmth.
童话系列 - 梦魇2，布面油画，100 x 100 cm, 2019
Fairytale Series - Dream 2, Oil on canvas, 100 x 100 cm，2019
童话系列，布面油画，120 x 180 cm, 2019
Fairytale Series, Oil on canvas, 120 x 180 cm，2019
在张林海近三十年的艺术创作中，他通过对于自身的身世经历和家族命运的真实感受，以及对 于以他的童年成长环境为代表的中国广大农村真实的社会、文化的现状和历史性分析，并以此 为原型，揭示出了在中国近现代历史中，民族的共同命运转折和精神磨难，进而再通过这种民 族命运的这种炼狱式的现实场景的魔幻现实主义式的 “ 剧场化 ” 呈现，完成了他对于中国文化 历史传统中的愚昧和保守，以及现实社会政治中的独裁和专制的批判。同时，对于那些处于时 代浩劫和历史轮回中备受磨难和煎熬的芸芸众生，张林海在同情、悲悯，进而感同身受的同时， 对于其与生俱来的集体无意识式的盲目、顺从、愚昧，进而成为专制帮凶的人性之恶，也展开 了深入的揭示和批判。
In Zhang’s nearly thirty years of making art, he has engaged with his real feelings about his personal experience and his family’s fate, as well as the historical analysis and social and cultural status quo of China’s vast rural areas, as represented by his childhood envi-ronment. With this as an archetype, he reveals the collective twists of fate and spiritual torments in modern Chinese history. Through the theatrical, magical realist presentation of real scenes akin to purgatory, he criticizes the ignorance and conservatism in Chinese cultural history and traditions, as well as dictatorship and autocracy in current society and politics. At the same time, Zhang Linhai has sympathy and pity for all living things being tormented in the tumult of the times and the cycles of history, and even as he feels this sym-pathy, he has continued to reveal and criticize the innate blindness, submissiveness, and ignorance of the collective unconscious, and the human evil that has become the accomplice to autocracy.