藝博會｜JINGART 藝覽北京博覽會｜Booth A01

大未來林舍畫廊將於2023年JINGART藝覽北京，帶來趙趙、申亮、徐華翎及劉時棟的最新創作，呈現藝術家如何在現今中西方文化交互影響的環境中，演繹出多元的當代華人美學，並勾勒出藝術家在繼承過去美學足跡的同時，如何與歷史進行不同角度的對話，乃至跨越的當代藝術面貌。

Lin & Lin Gallery is pleased to participate in 2023 JINGART, presenting latest artworks by artists Zhao Zhao, Shen Liang, Xu Hualing, and Liu Shih-Tung. The exhibition shows how artists interpret a diverse contemporary aesthetic in an environment where Chinese and Western culture interact, traces how artists inherit the aesthetic of the past whilst engaging in a dialogue with history from different perspectives and even span the contemporary artistic landscape.

趙趙 ZHAO ZHAO

趙趙的作品著重探討個體意識與其所處的社會領域的關係，其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。其作品表現出新疆及中亞的地理人文特色，畫面中扭曲的表現，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, focusing on the relation between individual consciousness and social sphere in which he lives. 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. His latest works express the geographical and human characteristics of Xinjiang and Central Asia. The work illustrates a feeling about the past and the present that people have changed, but things have remained the same through distorted expressions, presenting a ghostly shadow.

申亮 SHEN LIANG

申亮思考著「傳統」與「日常」的議題，運用日常的創作為傳統東方文人繪畫賦予多樣的當代性面貌。藝術家以「反覆式繪畫」的方法，勾勒個人細微觀察生活的藝術創作，透過顏料塗繪、堆疊與造型，融合西方材質與技法，以東方的「塗鴉」重新建構一個充滿趣味的想像世界。這看似簡單的描繪與勾勒，在作品中構成了某種超脫於具體之外的實象，周行不殆的以生活實踐著血脈中的美學文化。申亮此次帶來全新「淺草」系列創作，以淡彩描繪花卉的綻放姿態，呼應詩句「亂花漸欲迷人眼，淺草才能沒馬蹄」。

Shen Liang has been thinking about the issues of tradition and daily life and giving diversified contemporary perspective to traditional Eastern literati painting. In Shen’s “repetitive painting” approach, he closely observes daily life and combines the spirit of Chinese ink with the medium and technology of Western art. By layering objects, his work reconstructs a world of imagination through Eastern defacement. That seemingly simple depiction constitutes a certain kind of reality beyond the objects. Shen constantly practices to realize the aesthetic tradition that runs in his veins. At this exhibition, Shen Liang presents a new series of work entitled Tender Grass, in which he depicts blossom of flowers in mild colors, echoing the poetic phrase by a Tang Dynasty poet, “A riot of blooms begins to dazzle the eye. Amid tender grass the horse hoofs can barely be seen.”

徐華翎 XU HUALING

花園13 Garden 13

2022, 41x50 cm

絹本‧水色 Silk Watercolor

徐華翎的創作取材自當代女性的青春形象、日常周遭等生活元素，「繁亂的線條」和「淡淡的色彩」是其作品中顯著的特點。藝術家有意識地規避傳統工筆畫中對勾線的強調，去掉邊緣線而以光影為手段，在弱化的光影對比中，淡淡矇矓的色彩暈染出若有似無的形體，作品同時引入攝影圖像豐富了畫面的層次感，將傳統工筆的寫實與攝影印刷的真實同置於畫面中，透過繪畫與攝影圖像的組合，展現藝術家眼中如白日夢般的世界。

Xu Hualing's works are inspired by the youthful images of contemporary women and her daily surroundings. All the time, intricate line and pale colors have always been the distinctive features of Xu's works. She consciously avoids delineating the outlines in traditional Gongbi painting, eliminating the edge lines. Instead, she uses light and shade and purposefully weakens the contrast. The pale colors render the blurring of a faint and misty figure. Xu also places the realism of traditional brushwork and the reality of photographic printing on the same surface enriches the hierarchy of the picture. Through the combination of painting and photography, Xu show the world like a daydream in her eyes.

劉時棟 LIU SHIH-TUNG

劉時棟的創作取材自日常「採集」的自然與非自然的物質文化殘片，以獨特細膩的拼貼手法及創作美學，拆解又重構了「歷史」和「記憶」的敘事架構與實相，形成了一幅幅生活記憶微型博物圖景。藝術家借用中國古器圖像，在那些器形上層層疊加、拼貼錯置，重組了時間，賦予當代的符號，畫面不僅洋溢著寄情於物的文人抒情傳統，一種屬於傳統具象繪畫的「主題∕背景」關係也出現了。

Liu Shih-Tung’s works are based on natural and unnatural fragments of culture material collected from daily life. He dismantles and reconstructs the narrative structure and reality of history and memory by using unique and delicate collage and the aesthetics of creation, forming pictures of life memory.  Liu took the images of Chinese antique, and has reorganized time and given them contemporary symbols by applying layers and layers of collage on those objects. At the same time, not only is the painting overflowing with the literati tradition of placing feelings on objects, but a subject-background relationship that belongs to traditional figurative painting also emerges.