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