LIN YAN (b. 1961, Beijing).

Lin was born into a distinguished family of artists. Her grandfather, Pang Xunqin and grandmother Qiu Ti were the pioneers of Chinese modern art. Her parents, Lin Gang and Pang Tao, were the first-generation artists nourished by Chinese high art education. As the third generation of the family, Lin Yan grew up in a wonderfully cultured family. Yet she is able to develop her distinctive artistic voice.

After graduating from The Central Academy of Fine Arts, 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. In 1994, Lin returned to Beijing. In order to respond to the demolition of Beijing’s historic buildings and districts, Lin began to cast, with paper, the partial objects of old buildings in Beijing, such as roof tiles and rivets, so as to crystalize her feelings for traditional culture in her works. The next 10 years was called the “Black Period" of her career, when she took pains to elaborate the gradations and strength of black the color. In 2005, she started to use Xuan paper as the main medium to create sculpted paper paintings. Hand-made Xuan paper has been traditionally used for Chinese painting and calligraphy. Crumbled layers of soft handmade papers with ink create a paradoxical effect of strong, post-industrial feeling. Aware of the struggle and resistance in the world, she balances this restlessness with the tranquility of her materials. Black and white, firmness and softness are harmoniously juxtaposed; each quality implicates the other, like the constant negotiation of void and fullness in Tai-chi, or the Yin-yang balance in traditional Chinese philosophy.

Since 2013, Lin Yan has been doing site-specific installations in public art spaces and alternative art spaces, in response to the specific architectural characters. 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. Site-specific installation Sky was created separately in Yuan Art Museum (Beijing), Tenri Culture Institute (New York), Fou Gallery (New York), Kwai Fung Hin Gallery (Hong Kong), Eslite Gallery (Taipie) and White Rabbit Gallery (Sydney) during a 3-year period (2014–2017). The project explores human impact on the environment, especially the epic-scale air pollution in Beijing.

Lin’s work has been included in over 80 museum and gallery exhibitions worldwide, including Museum of the Chinese in America (New York), The National Art Museum in China (Beijing), White Rabbit Gallery (Sydney) and the Dresden State Art Collection in Germany. Her work is included in the permanent collections of many public institutions such as Chengdu Contemporary Art Museum, Deutsche Bank Art Corporate Citizenship (New York), Museum of Central Academy of Fine Arts (Beijing), National Museum of China (Beijing), Long Museum (Shanghai), and White Rabbit Gallery (Sydney), etc. Her recent exhibitions include: 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). Lin Yan: Gateway (2017) is her second solo exhibition at Fou Gallery.

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

林延(b. 1961,北京)

林延出生于中国北京,外祖父庞薰琹和外祖母丘堤为大陆现代艺术的先驱人物,父母林岗、庞壔分别为大陆第一代留学俄罗斯及高等美术教育出身的艺术家。身为艺术家庭的第三代,林延耳濡目染亲人的艺术精神,而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,后于宾州布鲁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。

 

1994年她回到北京,有感于急剧的现代化进程对城市古建筑的破坏,她开始用纸翻铸老城墙的砖、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。同时,她在中央美院举办“泣、弃、契、弃?气”装置绘画展览,以大型极简黑色装置对中国经历的变迁作出反应,随即开启长达十年的黑色时期创作。从2005年开始,她开始创造性地将宣纸转化为创作媒介。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,创造出具有建筑特征的装置和绘画雕塑。宣纸不再只能是平面绘画的载体,而能被塑造为极富重量感和层次感的形态。黑与白、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中的阴阳平衡。以空间为起点、与建筑形式相结合、赋予极简主义以东方美学的纬度。

从2013年开始,林延开始在不同类型的公共空间、可替代艺术空间创作大型装置,与特定的建筑形态和空间特性相呼应。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。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,绘有木炭素描飞鸟的层层黑色宣纸覆盖了整个天花板,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。林延后又在否画廊(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”,展现对人类生存状况的忧思,呼吁人们正视现实的痛苦,并继续满怀希望。

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),庞薰琹美术馆(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:《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)。《林延:门道》(2017)是她在否画廊举办的第二次个展。2016年她在诚品画廊(台北)举办个展。2017年她在否画廊举办第二次展览《门道》,用这栋二十世纪早期建成的经典褐石建筑内部建筑结构现场创作作品,呈现一个整体的建筑空间。

艺术家个人网站:http://www.linyan.us/