LIN YAN (b. 1961, Beijing).

Born in Beijing, China, Lin Yan was good at painting since childhood. Her grandfather, Pang Xunqin and grandmother Qiu Ti were the pioneers of Chinese modern art. Her parents, Lin Gang and Pang Tao, studied in the Soviet Union in the 1950s and graduated from The Central Academy of Fine Arts in China, who later taught and opened the fourth studio of Oil Painting Department in the 1980s, promoted the development of modern and contemporary art, and at the same time surpassed their own status as mainstream realist painters and became unique in their abstract expression. As the third generation of the family, Lin Yan’s practice is deeply rooted in her family’s artistic spirit. She knows the price to be paid for artistic exploration, and therefore maintains indifferent to fame and fortune, stays away from the hustle and bustle, and develops her own independent artistic language.After graduating from The Central Academy of Fine Arts in 1984, Lin pursued further studies at L'École Nationale Supérieure des Beaux-Arts in Paris in 1985. Then she obtained her M.A. from Bloomsburg University of Pennsylvania, U.S.A. (1989). In 1993, she moved to New York and since then lives and works in New York.

Since the 90s, Lin Yan has broken through the flatness of painting and intervened in space in her artistic practice. Her works tend to be monochromatic in the three-dimensional framework, thus starting the "Black Period" that lasted for ten years. During the time, Lin Yan borrowed from the deep research and profound philosophy of Chinese ink painting. In 2005, she began to use the carrier of ancient Chinese painting—handmade Xuan paper as medium. With the simplest Xuan paper and black and white ink, she creates a sense of weight and layering. Installations with architectural features and sculptures with the painterly characters expand her artistic language and aesthetics. Thickness and thinness in the shaping of materials, and the harmoniously juxtaposed firmness and softness resembles the contrast negotiation of void and fullness in Tai-chi spirit, echoing the inner spirit of Chinese traditional philosophy. Lin Yan's works are heart-moving in a subtle and tranquil way, juxtaposing history, past and present and endowing minimalism the latitude of Eastern aesthetics.

Since 2013, Lin Yan has used space as a starting point and combined with architectural forms to create large-scale installations. For the first time, at the Prow Art Space of the landmark Flatiron building in New York, she created the large ink and Xuan paper installation Embracing Stillness. Through layers of Xuan paper, the change of natural light and the reflection of urban architecture fell on the snow leopard painted with charcoal and ink, creating an atmosphere completely different from the frenzied flurry of urban life outside. At the end of 2013, she created ink and Xuan paper installation Sky in Beijing Yuan Art Museum to explore the concept of “Heaven and Man in One” and call attention to the environmental damage caused by large-scale commercialization and industrialization after the reform and opening up. In 2014, Lin Yan’s solo exhibition Dispelling the Clouds at Tenri Cultural Institute covered the entire ceiling with layers of ink-colored Xuan paper painted with flying birds in charcoal mixed with plastic bags and the rubbing of tires. The light behind it seemed to breed vitality. It makes people feel that the world is not divided by the national boundaries, and everyone has struggles and responsibility. Lin Yan has recreated the Sky series in different spaces such as Fou Gallery (New York), Kwai Fung Hin Gallery (Hong Kong), Eslite Gallery (Taipie) and White Rabbit Gallery (Sydney). Beginning in 2017, she started her new series—Regeneration of Hope, named after the Big Dipper, as site-specific installations in various institutions in different cities, including Yinchuan Museum of Contemporary Art (Yinchuan, China), Jinji Lake Art Museum (Suzhou, China), Wanying Art Museum (Shijiazhuang, China), Leo Gallery (Shanghai), and Minsheng Art Museum (Beijing). The Big Dipper is composed of seven stars of Ursa Major and is often used as an important indicator of directions in the Northern Civilization. The new project continues to point to the relationship between man and nature and the universe, and presents Lin Yan’s reflection and hope for the future.
Lin Yan has held solo or group exhibitions at important international institutions, including the Museum of Chinese in America (New York), Brooklyn Museum (New York), The National Art Museum in China (Beijing), the Dresden State Art Collection (Germany), He Xiangning Art Museum OCAT Contemporary Art Center (Shenzhen), etc. Her works have been included in the permanent collections of public institutions, including Deutsche Bank Art Corporate Citizenship (New York), White Rabbit Gallery (Sydney), Chengdu Contemporary Art Museum, Long Museum (Shanghai), Pang Xunqin Museum (Changshu), National Museum of China (Beijing), Museum of Central Academy of Fine Arts (Beijing), etc. Her recent exhibitions include:A Material Lineage: Pang Tao and Lin Yan, Pearl Lam Gallery, Shanghai (2019); Lin Yan: Inverted Shadow, Leo Gallery, Shanghai (2018); Lin Yan: Gateway, Fou Gallery, New York (2017); Lin Yan, Eslite Gallery, Taipei (2016); Lin Yan, Wei Jia: A Garden Window, Kwai Fung Hin Gallery, Hong Kong (2015); Lin Yan: Beyond Xuan, Officina, Brussels (2014).

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

林延(b. 1961,北京)

林延出生于中国北京,自幼擅长画画,外祖父厐薰琹与外祖母丘堤是中国二十世纪早期现代艺术及設計的先驱人物,父母林岗厐壔,50年代分别留学苏联和毕业于中央美术学院,之后任教并于80年代开创油画系第四工作室,推动了现当代艺术发展,同时超越自身现实主义主流画家地位,以抽象表现的绘画语言独树一帜。身为现代艺术家庭的第三代,林延耳濡目染家人的艺术精神,深知潜心艺术探赜所付出的代价,一路淡泊名利,遠離嘈雜,发展出自身独立的艺术语言。1984年从中央美术学院油画系毕业后,林延前往巴黎国立高等美术学院绘画材料研究室进修,后于美国宾州布鲁姆斯堡大学视觉艺术系取得硕士学位,1993年后主要生活和工作在纽约。

从九十年代起,林延突破绘画的平面性而介入空间,画面在立体构架中趋于单色,开启了延续十年的“黑色时期”。期间林延借鉴中国历代对水墨深刻的研究与哲学,于2005年开始以古老的中国绘画之载体~手工宣纸作为媒材。以最简单的宣纸和墨黑白两色,创造出具有重量感、层次感,建筑特征的装置和绘画性的雕塑,拓展了艺术语言及审美范畴。材质塑造中的粗与细、刚与柔的并置如同虚实相容的太极,呼应中国传统哲学思想的内在精神。林延的作品以含蓄宁静的方式直入人心,将历史、过去与现在并置,赋予极简主义以东方美学的纬度。

从2013年开始,林延以空间为起点、与建筑形式相结合创作大型装置。首次是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,自然光的变化与城市建筑的反光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喧闹截然不同的空间。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”天人合一“之观念,呼吁人们关注改革开放后大规模商业化和工业化对环境造成的破坏。2014年林延在天理文化中心的个展“空-气”,又将绘有木炭素描飞鸟的层层墨色宣纸夹杂塑料袋及轮胎的拓印覆盖了整个天花板,而背后的光似乎孕育着生机。此时感受到天下不分国家界限,人人有挣扎有责任。林延相继在否画廊(纽约),季凤轩画廊(香港),诚品画廊(台北)和白兔美术馆(悉尼)等不同空间重新创造了“天”系列。2017年开始,林延开启了新项目——希望重生。以北斗七星命名,在不同城市的艺术机构分别创作场地特定装置,包括银川当代美术馆,金鸡湖美术馆(苏州),万营美术馆(石家庄),狮语画廊(上海)和民生美术馆(北京)等。北斗由大熊座的七颗明星组成,常被北方文明当做指明方向的重要标识。新项目继续指向人与自然与宇宙之关系,寄予了林延对未来走向的沉思和期望。

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),白兔美术馆(悉尼),成都当代美术馆(成都),龙美术馆(上海),厐薰琹美术馆(常熟),中国美术馆(北京),中央美术学院美术馆(北京)等公共机构收藏。她近期的展览包括:《时间谱:厐壔与林延》(艺术门画廊,上海,2019),《林延:反映》(狮语画廊,上海,2018),《林延:门道》(否画廊,纽约,2017);《林延》(诚品画廊,台北,2016),《林延和韦佳:后院》(季凤轩画廊,香港,2015),《林延:不一样的宣》(Officina,布鲁塞尔,2014)。

艺术家个人网站:http://www.linyan.us/

The Park, the Path, the Process | BK Stories, Arthur Wei presents, courtesy BRIC TV
Filmmaker Arthur Wei documents the artistic process of his parents, Wei Jia and LinYan, two established contemporary artists living in Brooklyn.