2026/07/04 – 2026/09/27. Taipei Fine Arts Museum room 311    

 Curated by Hsu Fang-Tze

Mountain of Nāgas. 2022｜Acrylic on Canvas｜130×97 cm｜Collection of the Artist
Mother Raw Earth. 2021｜Acrylic on Canvas｜130×97 cm｜Private Collection
Magic Mountain. 2020｜Acrylic on Canvas｜130×97 cm｜Collection of the Artist

Mountain of Nāgas, Mother Raw Earth, and Magic Mountain are paintings from Lin Chi-Wei’s Série Montagnes-Magiques, which began in a deserted shared Paris studio during the first pandemic lockdown. These paintings depict a peopleless, ritual landscape of collapsed, quartz-toned rock, rendered through automatist ripples that coalesce into mountains. Lin works in highly saturated reds, yellows and greens, letting color and line guide the process of his eccentric texture-stroke method. Their repetition and variation generate a musicality that recalls, for Lin, the kinship between the landscapes of Yu Cheng-Yao and Nanguan music. The connection is apt: Yu, a selftaught painter and devoted Nanguan revivalist, built his monumental mountains from densely accumulated, rhythmic brushstrokes whose layered repetition reads as an audible structure, a visual scoring of sound. Inspired by his encounter with Yu’s paintings, Lin pursues a similar crossing between visuality and musicality, letting line and hue accrue into landscape as phrases accrue into music. This synesthetic translation is precisely what art historians locate in Kazimir Malevich’s early work: a totalizing sensorium in which pigments seem to emit scent while music binds the room into one harmony and assembles transferred sound-feelings into visible images. Like Malevich’s ,Lin’s surfaces ask the eye to hear. Painted over one or two years endlessly reworked as forms were deformed and recolored, the canvases drifted beyond their painter’s control.（Hsu Fang-Tze）

Chapelet (Chapelet Sonore) 2018-2020

Sound installation｜Dimensions variable｜Collection of Taipei Fine Arts Museum
Collection of Taipei Fine Arts Museum, 2020. Introduction/Audio: http://www.linchiwei.com/archives/3618

Lin Chi-Wei, a pioneer of Taiwan’s sound-art movement, continually explores the intersection of collective intelligence, ritual, and performance. His work, Chapelet, builds upon his iconic Tape Music series, treating the human body as an essential component of a living instrument. In this particular presentation, the assemblage includes five strings of chapelet with hand-crafted beads, a corresponding color score, a score representing the vocalization of the color score, a photo capturing five performers of Chapelet in motion, and a five-channel sound installation. Together,they function as an engine for synesthesia, deliberately collapsing the boundaries between visual, tactile, and auditory perception. Lin combines his childhood memories of his grandmother chanting sutras while holding prayer beads with his research on Kazimir Malevich’s abstraction in relation to Russian folk tradition. As audiences encounter performers translating the physical presence and hue of each bead directly into vocalized sound, they undergo a shared, cross-sensory experience, potentially visualizing these colors projected on the white wall in front of them through their brain’s synthesis. Relying on minimal control, a shifting palette of eight colors gradually guides the group through five evolving paragraphs. Without rehearsal or a conductor, Chapelet challenges conventional relationships to listening, forming moments of sensorial re-coordination, an organic sound community built entirely on audiences’ physical presence, colors, and the human voice. （Hsu Fang-Tze）

Original Score and Five Chapelets

5 track sound installation

Production Team (2018-2020) :
Performers：Hsin-Hao CHEN, Wen-Ray LIAO. Kevin LEE, Ming wai LEE, Po-Neng YU
On-set Production Manager：Yung-Hsin PAI / Camera: Ching-Yao LIAO / Recording : Song-Ce LO / Mastering : Eric La Casa / Costume :Feng Chin TSAI / Production/Direction : Singing CHEN