LIN YAN (b. 1961, Beijing).

Lin Yan is the third generation artist in her family to study abroad. Having graduated from the Central Academy of Fine Arts in Beijing (1984), she continued her studies at The École nationale supérieure des Beaux-Arts in Paris (1986) following her grandfather Pang Xunqin, grandmother Qiu Di and mother Pang Tao. Moreover, she earned her M.A. from Bloomsburg University in Pennsylvania (1989).

In 1993, she moved to New York with her painter husband and their young son. Taoist thought remain in her life and art. She seeks the simplest possible use of elements in her work. Though her forms are quite minimal and mostly quiet, they are filled with complex impulses and nuances. The foundation of Lin Yan’s large sculptural paper collage is a variety of hand-made paper which has been used for Chinese traditional painting and calligraphy. The crumbled layers of soft handmade papers with ink create a paradoxical effect of strong, post-industrial feeling. Inspired by old Beijing architecture in her memory and industrial elements in her Brooklyn home, Lin Yan blur boundaries, embrace conflict, bring histories, past and present together. Aware of the struggle and resistance in the world, she balances this restlessness with the tranquility of her materials. Her images investigate the interrelation of Chinese traditional painting and modernist abstraction, and postmodern appropriation and ancient technical rigor.

Since 2013, Lin Yan has been doing site-specific installations in public art space. The large ink and Xuan paper installation “Embracing Stillness” at the glass-enclosed Flatiron Prow Art Space (New York) explores the idea of stillness. Gently shifting with the air, layers of suspended translucent Xuan papers inhale and exhale light, surrounded by the frenzied flurry of urban life outside. She hopes to create a space where people can share private moments of reflection, in often intense lives of movement, upper mobility and stress. “Sky” project in Beijing discusses the devastation wrought upon the environment by the rapid commercialization and industrialization after the opening up of China. New exhibition Dispelling the Clouds at Tenri Culture Institute (New York) and Paperweight at Fou Gallery (New York) continue to explore human impact on the environment, especially the epic-scale air pollution in Beijing.

Yan has exhibited internationally at such prestigious venues as The Museum of the Chinese in America (New York), The National Art Museum in China (Beijing), Shanghai MOCA and the Dresden State Art Collection in Germany. Her works have been included in the public art collections of the National Art Museum of China (Beijing), Long Museum (Shanghai), Brooklyn Art Museum (New York), Museum of Central Academy of Fine Arts (Beijing), Chengdu Contemporary Art Museum and Deutsche Bank Art Corporate Citizenship (New York), etc. Her recent exhibitions include: Lin Yan, Wei Jia: A Garden Window, Kwai Fung Hin Gallery, Hong Kong (2015); Lin Yan: Beyond Xuan, Officina, Brussels (2014); Lin Yan: Dispelling the Clouds, Tenri Culture Institute, New York (2014), Lin Yan: Paperweight, Fou Gallery, New York (2014); Tales of Two Cities: New York & Beijing, Bruce Museum, Greenwich (2014).

Artist’s Website: http://www.linyan.us/

林延(b. 1961,北京)

1984年毕业于中央美术学院,追随外公庞薰琹,母亲庞壔的足迹去巴黎国立高等美术学院。1986年到美国宾夕法尼亚州立大学深造,1993年后生活和工作在纽约。1994年她在中国,违反装置作品禁展的条例,在中央美院举办“泣、弃、契、弃?气”装置绘画展览。受中国水墨启发的极简黑色系列作品对中国经历的变迁作出反应,发表文章《简》,提出与当时流行的“媚俗绘画”相反的艺术主张。2000年代林延在纽约策划了一系列与中国当代艺术市场不同的画展-以历史的角度看中国当代艺术,引起长期热爱亚洲传统艺术的收藏家的关注,扶持在纽约艰苦坚持创作的中国艺术家。

林延的作品始终贯穿着阴阳、太极、对立统一等东方哲学。从2005年开始,她开始用水墨和宣纸创作。采用中国历代用于书法绘画的传统手工纸,她以最简单的黑白两色以及材料创作,通过简明的材料本身平静地表现出社会变迁动荡中的自然和文化的挣扎与生命力,美与创伤。林延成长于老北京市中心,北京城的传统文化与建筑是林延对中国的主要记忆,不断出现在她的作品中,她通过宣纸翻铸老城墙的砖、瓦,将北京城的传统建筑、东方文化融合呈现在现代语言之中,也充满了对古建筑破坏,城市拆迁造成的无可挽回的文化损失深深的伤痛。

从2013年开始,林延开始在公共空间创作大型装置,关注日益严重的环境问题。2013年她在纽约地标建筑熨斗大厦Prow艺术空间创作了“知止”素描、宣纸装置,光线通过层层叠叠的宣纸落在用炭笔和墨勾勒的雪豹身上,创作出一个与外界匆忙生活截然不同的宁静空间,仿佛要冲破城市的喧嚣呼唤自然的力量。2013年底,她在北京元典美术馆创作“天”水墨、宣纸装置,探讨中国改革开放后大规模商业化和工业化对环境造成的破坏。2014年在天理文化中心的个展“空–气”延续了对环境的思考。在天理,绘有木炭素描飞鸟的层层宣纸覆盖了整个天花板,中间夹杂着红色的塑料袋及轮胎造型,仿佛在纽约感受到在北京的雾霾下挣扎,而背后的光又似乎孕育着生机。在否画廊,她根据顶梁用宣纸创作了层层展开的黑色云。评论家Robert C. Morgan认为,与西方的线性思维形成对照:“这些饱和的宣纸云可以被解读为对于人类生存状态的隐喻,释放出包罗万有的意涵,包括空气、水、土污染,物质文化遗传或儒家价值观丢失所带来的不确定性,甚至是中国内部的社会经济转型。”

林延在许多重要国际机构举办过个展或群展,包括美国华人博物馆(纽约),布鲁克林美术馆(纽约),中国美术馆(北京),德国德累斯顿国家博物馆,何香凝美术馆OCT当代艺术中心(深圳)等。作品被德意志银行艺术收藏(纽约),龙美术馆(上海),庞薰琹美术馆(常熟),中国美术馆(北京)和中央美术学院美术馆(北京)等公共机构收藏。2013年,她的个展项目《林延:知止》在纽约地标建筑熨斗大厦Prow艺术空间展出。2014年,她的大型素描和宣纸项目《空 – 气》在纽约天理文化中心展出,并于同期在否画廊举办个展。她近期还参加了布鲁斯博物馆的《双城记:纽约&北京》群展以及纽约大学80WSE美术馆的《现代性3.0》展览。2016年4月,她即将在台北诚品画廊举办个展。

艺术家个人网站:http://www.linyan.us/

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