NoguerasBlanchard is proud to present its second exhibition of Michael Lin (Tokyo, 1964).
NoguerasBlanchard is proud to present its second exhibition of Michael Lin (Tokyo, 1964). Having articulated his previous exhibition around a dinner-event located outside the gallery space, on this ocasion Lin circles the perimeter of the gallery with a mural of flowers painted and drawn on the gallery walls and superimposed with paintings on canvas. Of Taiwanese origin, Lin is internationally renown for his site-specific works which transform architectural spaces with brightly coloured floral patterns. The spectacular nature and sheer visual exhuberance of Lin’s practice alters the nature of the physical space and thus the viewer´s relationship to it.
Lin´s projects are mostly large in scale, occupying huge surfaces and using the exhibition space as a medium and support for his art. His installations are usually formed by wooden panels meticuosly hand-painted in amplified floral patterns based on oriental textiles, which invade and wrap around a space. In these works, the paintings become spaces for social interaction, transformed into active spaces in which audiences can rest on cushions, drink beer, walk or even skateboard, defying the autonomy of the artistic form and initianting an on- site work process, in which the participatory, interactive and relational nature of the work assumes a new significance. By making the appropiated patterns the backdrop of the relationalactivity, his work expands painting’s boundaries into the realm of real social space. In this exhibition, Lin presents a literal deconstruction of this process by merging the paintings with the wall and thus turning canvas and space into one work.
The elaborate patterns of Lin´s paintings are based on popular, traditional and widely used decorative fabric in Taiwanese culture. Lin´s working method makes a reference to the industrial production of textiles and traditional decorative arts, situating his discourse between the most classical tradition and modernity. Lin uses these designs for their familiarity and sensuality as well as their strong mythical, symbolic or iconographic connotations, and through them, he invites us to question the exhibition space, the limits between the private and public and the distiction between low and high forms of culture that persistently exists within society.
Michael Lin´s recent exhibitions include: 2ª Moscow Biennial (2007), Schaurausch-O.K.Centrum, Linz, Austria (2007); Spaces Within, 21st Century Museum of Contemporary Art, Kanazawa, Japan (2006); The Contemporary Museum, Honolulu, Hawaii (2005); Bienal de Lyon (2005); PS1 Contemporary Art Center, New York (2004); Fundación Montenmedio (NMAC), Cádiz (2003); Palais de Tokyo, Paris (2002); Urgent Painting, Musée d´Art Moderne de la Ville de Paris, Paris (2002); Asianvibe, EACC, Castellón (2002); Gwanju Biennial Hall, Gwanju, Korea (2002); 49ª Venice Biennale, Taiwan Pavilion (2001); VII Istanbul Biennial (2001); ARS O1, Kiasma Museum, Helsinki, Finland (2001); Casino, Luxemburgo (2001); SMAK, Ghent, Belgium (2001) and The Sky Is the Limit, Taipei Biennial, Taipei, Taiwan (2000).
Michael Lin lives between Shanghai and Paris.