2016.Rotating Binary Forces
Rotating Binary Forces – LIN Chi-Wei solo Exhibition in Hanart TZ Gallery – Paintings and Sound Arts
Time:2 September ~ 15 October 2016
Venue: Hanart TZ Gallery,Hongkong
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Day of Victory Acrylic on canvas，126×84 ,2015
Union of Ears Acrylic on canvas，147×147,2016
The Metro Acrylic on canvas，137×96 ,2015
Nick Cave or Gothic Singer Acrylic on canvas，75×65，2007
Black and White Acrylic on canvas，138×115 ,2014
Union of Double BlessingCollage-Mixed Media，107X88X23.5 , 2015
Ceremony of the ShellCollage-Mixed Media，131x102x19cm 2015
Ceremony of the Shell detail1
Ceremony of the Shell detail2
Ceremony of the Shell detail3
Nine Peonies Collage-Mixed Media，107X88X23.5 , 2015
Pleasant Goat Collage-Mixed Media，145×112 ,2016
Grey Wolf Collage-Mixed Media，145×112 ,2016
Mercy as Profound as the Sea Collage-Mixed Media，115x116x15 , 2015
Sarasvati Collage-Mixed Media，39x31x4,2016
Tape for MUSARC Tape Machine ,60x60x90 (a pair), 2015
Musarc Performance Video （watch video here: “Tape For Musarc”）Musarc©℗ ＨＤＶ, 2016
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Artist’s Statement
These works were made between 2013-2016, a period of brutal changes in my life.
After six years of residency in Beijing, I returned to my hometown of Taipei and witnessed radical cultural changes taking place there. The house I grew up in had become marked for demolition as part of the city’s urban revitalization project. My father’s valiant struggle against prostate cancer had failed and he was entering the final stages of the disease. Outside the doors of the hospital, another kind of struggle was going on: Student protestors had occupied the Parliament building to rally against the free trade agreements with China. Everything I was familiar with, the very landscape of the city I had known as a child, seemed to have been shaken to the core; and all the symbols, things, and sounds of the past were collapsing into chaos. Confronting this situation, art seemed to have become pointless….For the reality in Taipei at that moment seemed more outrageous than any form of art or anti-art could ever imagine.
In the weeks before the demolition of my parents’ house, we dislodged hundreds of small family objects. Though no longer of any practical use, they belonged to the stock of Post-War family memories: each object was marked by the traces of time lived under martial law, and it was difficult to just relegate them to the dustbin. I ended up storing them in my temporary studio. Over the next three years I realized that, one by one, each had miraculously found its specific place amongst my series of new collage works.
My father was a fervent futurist and scientist, and yet science couldn’t save him from his fatal disease. The slow process of the breakdown and decay of his body, memory and reason revealed the invincibility of time. Bearing witness to this process, I found that his death gradually turned into something precious. Time was both destroying and distilling, revealing the unparalleled power and beauty of life itself, whose inexpressibly brilliant light radiates beyond death.
The nationalistic culture that I grew up in entered its final stages of decay along with my father’s death. Dictatorial privilege is now being dismantled, while new pipelines are being configured to carry an even quicker flow of money, merchandise, and information. In the process, both the identity and the cultural landscape are undergoing a restructuring. My father’s death is thus doubled in this way. The culture of dying and the death of culture have melded into one.
I would like to sincerely thank Hanart TZ Gallery for first inviting me to do a painting exhibition with them three years ago, and for their patience during the long wait. I would also like to give my heartfelt thanks to my dear family and close friends who, during the past three years, have helped me in every way imaginable. Without their generosity in providing space, material and spiritual support I would never have been able to achieve this work.
(Translated by Valerie C. Doran)
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Critique :
Lin Chi-wei: Navigating Evil, Control and Disease/ Christie Lee
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Work List :
1. Tape for MUSARC
Tape Machine ,60x60x90 (a pair), 2015
2.Musarc Performance Video
（see video here: “Tape For Musarc”） ＨＤＶ, 2016
3.Day of Victory
Acrylic on canvas，126×84 ,2015
4.DoubleSwastika
Acrylic on canvas，196×126 ,2016
5. Union of Ears
Acrylic on canvas，147×147,2016
6.Union of Eyes
Acrylic on canvas，147×87 ,2016
7. Be the Avantguardist of your People
Acrylic on canvas，126×85,2016
8.Meditation through Violence
Acrylic on canvas，126×85 ,2016
9. I Want to Live
Acrylic on canvas，166×85 , 2016
10.Regimen in fear of death
Acrylic on canvas，93×93 , 2016
11.Nu
Acrylic on canvas，93×85,2015
12. Nan
Acrylic on canvas，93×85 ,2015
13. The Metro
Acrylic on canvas，137×96 ,2015
14.Nick Cave or Gothic Singer
Acrylic on canvas，75×65，2007
15.Black and White
Acrylic on canvas，138×115 ,2014
16.Union of Double Blessing
Collage-Mixed Media，107X88X23.5 , 2015
17.Ceremony of the Shell
Collage-Mixed Media，131x102x19cm 2015
18. Mercy as Profound as the Sea
Collage-Mixed Media，115x116x15 , 2015
19.Nine Peonies
Collage-Mixed Media，107X88X23.5 , 2015
20.Pleasant Goat
Collage-Mixed Media，145×112 ,2016
21.Grey Wolf
Collage-Mixed Media，145×112 ,2016
22. Sarasvati
Collage-Mixed Media，39x31x4,2016
23. Golden Arhat
Collage-Mixed Media，34x27x5, 2014
24. Flowers of day and night
Collage-Mixed Media，22x31x4 , 2014
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Other Links :
漢雅軒 https://www.hanart.com/artist/lin-chi-wei/?lang=zh