貴賓預展 VIP Preview｜03.21 - 03.22公眾展期 Public Day｜03.23 - 03.25地點 Venue｜香港會議展覽中心 Hong Kong Convention and Exhibition Centre大未來林舍畫廊於2023 Art Basel HK透過創作跨距百年的現當代藝術家吳大羽、陳蔭羆、陳界仁、申亮、趙趙，探討華人繪畫中寫意的表現與意在畫外的精神。華人的抽象繪畫中，總有一個現實的寫照，透過對現實事物的想像，創作出超越原先繪畫主題的界線，進而傳達意在畫外的精神，形成更富想像的精神意涵。趙趙更於大會主辦的Kabinett策展角落中帶來全新的概念性創作項目。畫廊以一貫「在地文化美學」觀點切入，提出華人藝術家對媒材的揀選、議題的關注，乃至對中國傳統文化題材的掌握與演繹。
Lin & Lin Gallery will present the works spanning more than a century by great artists Wu Da-Yu, George Chann, Chen Chieh-Jen, Shen Liang, and Zhao Zhao at 2023 Art Basel HK to delve into the expression of Chinese painting and the spirit beyond the painting. There is always a realistic portrayal in Chinese abstract painting. A boundary beyond the original subject matter is created through imagination of real objects to form a more spiritual implication. Zhao Zhao also introduces a new conceptual project in Kabinett, a curated presentation organized by Art Basel HK. Starting from the perspective of local cultural aesthetics, Lin & Lin presents the Chinese artists' selection of media, their attention to issues, and even their mastery and interpretation of traditional Chinese cultural themes. 
采韻-20 Color Rhymes-20, 54.5x39 cm, 油彩‧畫布 Oil on canvas華人第一代抽象繪畫代表吳大羽，1922年留法後，與林風眠等人共創杭州國立藝術院（杭州藝專前身），啟迪無數華人前輩藝術家，包括吳冠中、趙無極、朱德群等人均受其指導。吳大羽的作品多描繪日常生活所見的浮光掠影，他巧妙的將理性的形象轉換取捨，帶進中國筆墨勢的運動中，融合抽象形式與華人文化韻致，作品始終予人「似而非像，不落形象」的畫面，筆法瀟灑奔放，色彩鮮明抒情的空間韻調，以及其傳達出的精神與自然和調的精神氣質。
Wu Da-Yu, the first generation of Chinese abstract painting representative, inspired an entire generation of Chinese artists. After he returned from France in 1922, Wu founded Hangzhou's National Academy of Art along with Lin Fengmian. His students include Wu Guanzhong, Zao Wou-Ki, Chu Teh-Chun and others. Many of his paintings depict casual subject matter seen in everyday life. He cleverly transforms concrete images with the momentum of Chinese brushwork, blending abstraction with the exquisite charm of Chinese culture. Wu creates impressions that resemble something without being literal. His wild brushstrokes and vivid colors form rhythmic spaces while delivering a spirit of natural harmony.
陳蔭羆 GEORGE CHANN
唐風今現 The Reappearance of Tang Wave, 1970s, 130x212.5 cm, 油彩‧拼貼‧畫布 Oil on canvas, collage
漢字與古文物構成了陳蔭羆創作中的文化基底。銅綠斑斕的青銅器、風化模糊的古石碑乃至於歷代漢字，成為了藝術家作品外觀的基礎，那伴隨著壓/擦/刮/磨和腐蝕、斑駁，交融成上/下難分、圖/底莫辨的豐富層次與肌理變化，讓藝術家得以進一步地走向更加純粹、自由和有機化的狀態。在逐漸消失，點、線、色的書寫及歷史文明湮滅感中，藝術家淬煉出東方美學「氣韻」的內在哲思。
Chinese characters and ancient artefacts constitute the cultural basis of George Chann's art. Appearance in his work is inspired by the Chinese ritual bronzes, weathered ancient stone tablets, and Chinese characters. Chann creates rich layers and textures that confound the top and bottom, as well as the image and background, in his painting. He also manages to elevate his work to state of momentum that is purer, freer and more organic. Chann extracts the Eastern aesthetic spirit from a mixture of dots, lines and colors that suggests the annihilation of historical civilization.
陳界仁 CHEN CHIEH-JEN
在沒有世界的世界中- I In a World Losing Multiple Worlds I, 2022, 85x150 cm, 黑白照片‧典藏級相紙 b/w photo‧archival quality photo paper陳界仁近年的創作計畫《為觀想「流變」而作－ 》，延續《星辰圖》、《中空之地》中所探討的「空性」、「流變」，藝術家在此創作計畫中，想像在生產一個圖像的同時，也在等待、觀看它將會如何不斷地「流變」，而這些注定會成為殘像的圖像，可能在不斷「流變」中的某些時刻，因著某些部分無法預知的變化、殘缺等因素，而浮現出它最「美麗」的樣貌，也或許圖像中的某些部分會頑強地持續存在，並存在至藝術家也不可見與無法想像的遙遠未來……
In his recent works Envisioning Ephemerality, Star Chart, and A Field and Non-Field exploring the concepts of Śūnyatā and transformation, Chen Chieh-Jen imagines the production of images while waiting and watching how these images continually transform. Although these images are destined to be incomplete, perhaps their most beautiful manifestation will emerge at a certain point in this constant transformation, or perhaps some parts of them will persist into a distant future when the artist himself cannot see or even imagine them.
申亮 SHEN LIANG
2022 No.4, 2022, 216x157 cm, 丙烯‧油墨印刷‧紙 Acrylic, ink printing on paper
申亮透過顏料塗繪、堆疊與造型，用具象的方式描繪，紅洋蔥、瓜子皮、蒜皮等日常無用之物。這看似簡單的描繪與勾勒，實體現了「即物即真」、「回歸本體物象」的傳統美學。通過堆疊尋常事物，藝術家在作品中構成了某種超脫於具體之外的實象。於是瓜子、蒜皮，在細膩堆疊的筆觸和佈局構成了水墨山水般的動態韻律，更在巨觀的尺度下構成了無以言喻的生活況味。
By painting and stacking, Shen Liang depicts everyday objects in a figurative way. His work embodies an aesthetic tradition of object as reality and is composed of depictions of red onions, sunflower seeds, garlic skins and butterflies, which are layered upon one another and positioned in a large and open background. With meticulous brushstrokes, he creates the rhythms and impressions of ink landscapes. Such momentum creates an atmosphere of life.
趙趙 ZHAO ZHAO
風景 Landscape, 2022, 156x128 cm, 油彩‧畫布 Oil on canvas
趙趙的作品中運用多種媒介對現實題材以及藝術形態進行轉換，藉由多元的面向，對照其融合傳統與當代的創作，梳理藝術中獨特的脈絡發展，揭示其置身於東西方之間的哲學思辨，及對自身文化血緣的尋源軌跡。此次Kabinett策展角落將呈現新作「風景」，作品表現出新疆及中亞的地理人文特色，畫面中猙獰的面容，扭曲的表現，晃動不安的身影，闡述了一種物是人非之感，呈現如同鬼魅般的殘影。
Zhao Zhao uses a variety of media to transform realistic subject matters and artistic forms. From multiple perspectives, his paintings fusing traditional and contemporary elements will be compared, and the unique development of his art will be explored. Furthermore, Zhao’s philosophical thinking, which is positioned between East and West, will be examined, as will his connection to his own culture. This year, Kabinett, a curated project, will present his latest works Landscape, expressing the geographical and human characteristics of Xinjiang and Central Asia. His work illustrates a feeling about the past and the present that people have changed, but things have remained the same through the ferocious faces, distorted expressions and twisted bodies. A ghostly shadow thus is left in the painting.
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