2024 - ART021 Shanghai Contemporary Art Fair 2024

Lin & Lin Gallery is pleased to participate in the ART021 Shanghai Contemporary Art Fair 2024, showcasing the artworks by modern and contemporary artists Chen Tao-Ming, Hsiao Chin, Lai Chiu-Chen, Liu Shih-Tung, Zhao Zhao, and Yang Bodu. To explore how artists select and interpret the oriental aesthetics topics with contemporary approaches and perspectives. While expressing the succession of tradition, they depict and present the unique styles and further extend the new visual narrative context.

Chen Tao-Ming (1931-2017) was born in Shangdong. He co-founded Ton Fon Art Group and was dubbed "The Eight Highwaymen of the East." Chen has been eager to explore the variations of materials, formations, and colors. He made use of the fluidity of water-based paints such as acrylics and watercolors to generate atlas-like tableaus vibrating with musical rhythms. The concrete matters and abstract momentum come to clash on the canvas to allow the mind to freely wander in time, reflecting his inner vibrancy of life and the capture of time.

Hsiao Chin's (1935-2023) work develops from Taoist and Zen philosophies; his art blends together Eastern and Western cultures and creative modern art experiences, with self-awareness realized through an approach that unveils innate characteristics in a straightforward and frank manner. Be a vanguard of Chinese modern and contemporary art in the mid-1950s, and he also spearheaded Chinese and Western contemporary art exchanges in Europe. Hsiao not only sat into motion the "Modernist Art Movement in Taiwan" and developed new methods of combining traditional Chinese and western thought and materials in the issue of the Modernization Movement of Chinese Fine Arts, he also offered the perspectives and sensibilities of an Asian individual upon the international art stage.

Lai Chiu-Chen (1970- ) was born in Jiufen, Taiwan and currently lives and works in Taipei. Lai’s works carry a whiff of pop art, but underneath the surface of his cartoon-like images is actually a constant painting proposition—simulation and reproduction. He collects the material meeting his eye day after day in the memory bank. And he organizes the material consists of cultural artifacts belonging to different texts, categories, and times into a pile in which reality can be seen. The fragmented symbols, images and memories have been reassembled, integrated and exported, leading viewers to think about the multiphase meanings of images.

Liu Shih-Tung (1970- ) was born in Miaoli, Taiwan and currently lives and works in Taipei. Liu’s works are based on natural and unnatural fragments of culture material collected from daily life. He dismantles and reconstructs the narrative structure of history and memory by using delicate collage and his aesthetic of creation. Liu has taken the images of Chinese antiquity and given them contemporary symbols by applying layers and layers of collage to these objects. At the same time, not only is the painting overflowing with the literati tradition of placing feelings on objects, but a subject-background relationship that belongs to traditional figurative painting also emerges.

Zhao Zhao (1982- ) was born in Xinjiang, China and currently lives and works in Beijing and Los Angeles. Zhoa’s paintings, which combine traditional and contemporary elements, explore his philosophical thinking between East and West, and reveal his connection to his own culture. His new series “Seeds” goes beyond the traditional depiction of floral scenes. Colorful flowers with dots explore the continuity and cycle of life. And the title “Seeds” refers to the Zen thoughts of the life circle.

Yang Bodu (1986- ) was born in Tianjin, China and currently lives and works in Beijing. Yang’s works are explored an "art scene" that departs from the spiritual dimension, depicting the architectural scenes of museums, galleries, and other art institutions. She mixes the private view with the public art space. She has looked at these evenly lit, dramatically constructed architectural moments as ways of seeing as well as the eventual foundations for individual material paintings. Her practice takes place in this uncanny space between private and public, between making and viewing, and between seeing and being seen.