融舍

林旭辉 | 预言即将开展

林旭辉 | 预言

Xuhui Lin | PROPHESY

开幕：2020年10月16日 14：00 （仅VIP）

Opening: October 16, 2020 14:00 （VIP only）

策展人：曾建龙

Curator: Gary Zeng

联合策展及执行：融舍艺术团队

Joint curation and execution: Precious Home Art Team

展期：2020年10月16日至2020年11月15日

Duration: October 16 to November 15, 2020

地址：上海市黄浦区南苏州路429号外滩· 融享汇空间

Address: the Bund • Precious No. 429 South Suzhou Road, Huangpu District, Shanghai

时间：周一至周日，上午10点至下午5点

Time: Monday to Sunday, 10am to 5pm

观展方式采取预约制，详情请参照文末。

The exhibition will be held by appointment. Please refer to the end of the article for details.

融舍荣幸地宣布，将于2020年10月16日隆重推出艺术家林旭辉个展《预言》，展览将持续至11月15日。

《预言》将呈献艺术家“密室”系列的十余件绘画作品。

“物”的象征不仅是个体对一特定物的本体样貌的再次提炼，也暗含着时代潮流中不同身份以及位置属性态别的心理差异。物欲横流的平行性和交织感，正是于社会不同语境下所隐喻的权利结构溃败和再次更迭的内在感官。敷于情，祛惑魅…寻找自我在这个时代中最核心的地标。

光，犹在；辉，依然灿烂！

PRECIOUS HOME is honored to announce that the solo exhibition of Xuhui Lin | Prophecy will have it's grand opening on October 16th, 2020. The whole exhibition will last for a month and end on the 15th of November, 2020.

The《PROPHESY》will exhibit more than 10 pieces of paintings from《The Locked Room》collection of Xuhui Lin.

A symbol is not only the refining of the ontological appearance of a specific thing, but also implies the psychological discrepancy of different identities and positions in certain trend of the times. The transverse and interweaving features of material desire is the metaphor of the collapse of hierarchical power structure and the changes in our inner sense. Root yourself in love and trim temptations or lust… Look for the most important location of the self in this era.

The light is still there; the glory is still brilliant!

预见未知场域，言当下惑魅之景观

Lin Xuhui: foresees the unknown field, speaks the present confused landscape

绘画艺术的奥秘之处，除了艺术家赋予材料本身的独特气质以外，还影射着它在一定空间以及环境体态下的观念表述。这类语义脉络的延展，无不夹杂着个体异质思想之间的差异性和多样性。

The secret of the art of painting, in addition to the unique temperament of the material given by the artist, also reflects its concept expression in a certain space and under the posture of the environment. The extension of this kind of semantic context is mixed with the difference and diversity among individual heterogeneous thoughts.

纵观林旭辉近些年的绘画创作：“叙事转译”、“场域置换”、“语境解构”、“情境状述”等关键词汇基以构成他作品特征的主旨内容，并以特定物——椅子为符号载体，继而呈现一个具有生命症候与历史错位、横越式的个人化的“林式图景”。在未知的场域中，预见时间划过物象的每一处痕迹；窥探权利结构社会中的人性姿态，直视当下我们所面临的充满诱惑和欲念交织的社会景观。

Throughout Xuhui Lin's painting creation in recent years, "narrative translation", "field replacement", "deconstruction" context, the "situation above key words such as" base to form characteristics of his works theme content, and in a specific content - chair as symbol carrier, and then present a dislocation with symptoms and life history, crossing the personalized "Lin type picture". In the unknown field, foresee the time across every trace of the image; To explore the human attitude in the society of power structure, and to look directly at the social landscape full of temptation and desire that we are facing at present.

《密室》NO.07 | 2017 | 布面油画 | 50 × 60cm

从林旭辉的绘画风貌来看，其创作是对20世纪初至30年代表现主义流派的深入推进与递换，（“表现主义”一词源自拉丁文“expressus”，具有“抛掷出来”、“挤压出来”的意思。）表现主义运动的思潮是对传统艺术的反击，在创作的方法论上，艺术家们背弃丢舍了十九世纪前在欧洲长期占有统治地位的“模仿论”或“反映论”的美学观念，从而崇尚“表现论”的美学特质。

From the perspective of Xu hui Lin's painting style, his creation is an in-depth promotion and transfer of expressionism from the early 20th century to the 1930s. (the word "expressionism" is derived from Latin "Expressus", meaning "to throw out" and "to squeeze out".) The trend of thought of expressionism movement is a counterattack to traditional art. In terms of the methodology of creation, artists abandon the aesthetic concepts of "imitation theory" or "reflection theory", which had been dominant in Europe for a long time before the 19th century, and thus advocate the aesthetic characteristics of "expressionism".

《密室》NO.15 | 2019 | 布面油画 | 180 × 220cm

阿诺尔德·勋伯格说：”艺术家为之奋斗的最伟大的目标只有一个，那就是表现他自己，我们的心灵才是客观世界的真实反映。”在艺术语言的表达方式上，林旭辉的作品并非是对客观事物的“描摹临写”，亦不再停留于对现实图像暂时现象和偶然现象的提炼记叙，而是在探寻、突破自我构建的“密室”结构的次序，以及我们所处的周遭时境中的人的灵魂性和温度性，进而揭示表现人性本质存在的“内在伤疤”和“区域结痂”，并逐渐转译为他心中的“永恒的绘画”的真实预言。

Arnold Schoenberg said, "The greatest goal the artist strives for is to express himself. Our mind is the true reflection of the objective world." On the artistic language expression, Xuhui Lin's works is not "depict in" of objective things, and no longer stay in refining of realistic image temporary and accidental phenomenon narratives, but rather in explore the "chamber of secrets", break through the self construction of the structure of the order, and when we are in the surrounding environment of man's soul and temperature, and then reveal the performance of the existence of human nature "inner scars" and "regional scabby", and gradually translated into his heart painting "eternal" true prophesy.

《密室》NO.05 | 2017 | 布面油画 | 50 × 40cm

在这个充满物质欲和大幻想的时代潮流中，群体和个体的成长场域在时刻转换；同时，随着现代社会文明和时代化进程的飞速发展，人性的力量也在不断被消减、异化；思维形态不断被扭曲挤压，历经混淆与沉罄后，只残留下人类漠然的“寂静之物”以及焦虑不安的心绪……椅子形象在林旭辉画面中的生根植入，意在追求事物内部“幻象”所隐匿的魅惑世界，不仅体现了他对这一特定物本体样貌的再次纯化，也暗含着时代语境下不同身份人群的各自属性，以及处于不同位置上个体间的权利地位的心理阐述。他通过直接而强有力的线条、沉稳厚实的色块对物象进行反复叠加与修整，单刀直入的凌厉的色彩肌理感，反映了当下权利结构溃败和再次更迭的面相状态。就像表现主义作家、理论家品图斯说：“只有人变好了，世界才能变好”。敷于情，祛惑魅……这正是林旭辉对于现实生活在自我经历中的主体意志的敏锐把控，以及对日常之物的紧密关照和察观态度。

In this era full of material desire and big fantasy, the growth field of groups and individuals is changing at every moment; At the same time, with the rapid development of modern social civilization and the process of modernization, the power of human nature is constantly being reduced and alienated; Thinking forms are constantly distorted and squeezed, and after confusion and sinking, only the indifferent "silent things" and anxious moods remain in human beings... Chair image in Xuhui Lin picture to take root in the implant to pursue things are hidden by "illusion" in the interior of the charm of the world, not only embodies his appearance on this particular ontology of purification, again also hints at the context of age different identity crowd their attributes, and in a different position on the status of individual rights between psychological. Through direct and powerful lines and composed and thick color blocks, he repeatedly superimposes and revises the objects and images, and his sharp and penetrating color texture reflects the collapse and change of the current power structure. As the expressionist writer and theorist Pintus said, "The world can only get better if people get better." Apply to feelings, dispel enchantment... This is precisely Lin Xuhui's keen control of the will of the subject living in his own experience, as well as his close attention to and observation of everyday things.

《密室》NO.11 | 2018 | 布面油画 | 50 × 40cm

林旭辉正以自己的行为方式和轨迹路径，描绘着人类既有生存空间的生命形态，与时间密度的铺设形成对峙共振的一幅幅生灵图像……从他前期创作的“未知系列”、“密室系列”、“有机面孔系列”开始，再到现今“密室系列”的延续，他一直在书写着属于自己的“预言”，而“密室”，就是未来我们所在之境的真实缩影。

Xuhui Lin is using his own behavior and track path to depict the existing living space of human life forms, and time density laid to form a confrontation resonance images of creatures...... From the "unknown series", "Chamber of Secrets" and "Organic Face series" he created in the early days to the continuation of the current "Chamber of Secrets" series, he has been writing his own "prophesy", and "Chamber of Secrets" is the true epitome of the future where we are.

预言，是光赫的信仰。如同袭入密室中一束隐秘的光照，辉彩之熠然，灿烂永恒！

Prophesy is the faith of light and Hertz. Like a secret light in a chamber of secrets, bright and eternal!

——惠书文

Hui Shuwen

《密室》NO.12 | 2018 | 布面油画 | 40 × 40cm

艺术家

Artist

林旭辉

1978 生于浙江温州

毕业于中国美术学院

现工作生活于北京

林旭辉近些年的绘画创作：“叙事转译”、“场域置换”、“语境解构”、“情境状述”等关键词汇基以构成他作品特征的主旨内容，继而呈现一个具有生命症候与历史错位、横越式的个人化的“林式图景”。在未知的场域中，预见时间划过物象的每一处痕迹；窥探权利结构社会中的人性姿态，直视当下我们所面临的充满诱惑和欲念交织的社会景观。

他的近期个展包括“预言”（外滩融舍，上海，2020），“未知＆空间”（保利艺典空间，北京，2016）

他的作品被国内外重要艺术基金会和美术馆及个人收藏。

策展人

Curator