林欣 林林的宴会之四 Linlin''s Dinner Party No.4 195cm×140cm 布面油画 oil on canvas 2007
完美的罪
一直致力于发现并推出当代艺术新锐的北京新时代画廊，将于2009年11月7日举办“完美的罪：林欣个展”。此次展览是林欣的首次个展，将集中而全面地呈现他的艺术创作。
林欣 Lin Xin 姐妹淘之秘语 Secret of Sisters 175×360cm 布面油画 oil on canvas 2009
本次展览主题为“完美的罪”。旨在强调：我们在不断追求完美，不断追求改变，不断追求“发展”，不断追求“进步”，……，但是，沉湎于此的其中，我们和我们的社会，都在其中举起自我毁灭之手，在走向另一个极端。如虚拟现实扼杀了实在：影视对图像的虚拟，高保真对声音的虚拟，计算机编码对语言的虚拟……在发展中，虚拟逐渐成为人们所熟悉的，这些原属于镜中之像的虚拟物跳脱出了镜子，并且打败了现实实在的对应物，而我们，也沦为他们的替补。在此，实在被消解，而虚拟大行其道。又如，人在对自身和世界的改变中迷失了自己：我们对自身和对世界的改变改造，不可能比其自身的变化更多，这就是我们的历史基本性的弱点。人类的有限性使得我们的行为是一种罪行，当所有的被改变事物一旦展开反击，则会是毁灭性的。
在林欣近几年的作品中，重复出现着一个“仿像”——由电线、电子元件、电子插头、机械、金属等组成，充满现代科技含量，形态各异、冰冷冷漠的“类人”形象。“她”，被追求雕琢成一个精神和肉体都极端理想完善的形象，被安排在一个个虚拟时空情境中；“她”精致优美、炫亮夺目，同样有性别，同样有情感，时而携带自己的多重面具，在一个虚拟陌生的自我空间或社会空间中，进行着自我的对话与游戏。
林欣 Lin Xin 姐妹淘之宴会 Banquet of Sisters 145cm×355cm 布面油画 oil on canvas 2008
她的艺术，仿佛展现着一种“理想未来”存在景象：一个躯体的多样性，每个人具有平等的潜在遥在，每个人拥有自己的知觉条件，每个人处在他们的环境之中，每个人维持他们自己的真实。我们的皮肤——来自世界的自然保护外壳——将被打破。我们的面孔——来自社会的人造伪装面具——将被强固而多变。
林欣的作品，以一种创造性的符号形象——仿像，即以一种没有原本的（而是人为的）可以无限复制的形象，它没有再现性符号的特定所指（形象与现实脱节，甚至形象超越了现实），纯然是一个自我指涉符号的自足世界；以一种虚拟时空，似曾相识而又陌生的跨越时间或空间的场景，一切仿佛在瞬间凝固停滞，毫无现实世界的流动亲近自然。这种由仿像、虚拟时空所构成的“艺术世界”，仿佛是一种“冷艺术”。它表现在绘画上，与传统架上绘画相比，扩大了我们与审美对象（绘画作品）的距离——心理和视觉上产生一种深深的疏离冷漠感；而它内在传达的，却是一种“超真实”、“虚拟的也许是最真实可控的……”的观念。
林欣 林林的午餐 No.2 Linlin's Lunch No.2 140cm×175cm 布面油画 oil on canvas 2008
林欣，出生于1979年，是中国“独生子女”的第一代，“工人老大哥”的时代痕迹仍在，她的童年，是在那些大车间、大厂房中度过，对机器、机械怀有情结；另一方面，作为80年前后出生的一代，这是经历并享受改革开放的一代。林欣与其同代人一样，受现代科技、数字网络充斥于生活的影响，使她认为“虚拟的生命也许有着更为真实的存在痕迹。”
这种“超真实”的存在，人们对自我存在与适应方式，有了更广阔的空间和范围。虚拟的存在，成为人们的另一种存在和释放方式，在其中，人们可以玩着各种“游戏”，模拟着各种生活方式，变换着多种身份。在这里，时间被“都市化”了（这与空间的都市化不同），进一步个体身体也“都市化”了，个体社会交往可以进入各种界面，从电脑键盘、屏幕，到数据手套等。
“环境的改变，媒介的改变，认知存在方式的改变，必定会改变我们的思维方式和创作手法。”
“在数字的虚拟与影像的现实之间，我试图用作品跨越这两种空间，呈现更为复杂交错的虚拟与存在的思考。”（林欣）
今天，虚拟文化的出现，不但逐渐占据着越来越重要的位置，而且也迫使我们思考新的问题，建构新的思维范式来应对这些深刻的文化变迁。这个时代，电子媒介，如电视，电脑，互联网等，更加激进地改变了艺术与现实的关系，模拟和仿像应运而生。林欣的作品，透露着只有在今天这种虚拟时代、虚拟文化背景下才诞生的艺术特征。
Perfect Misdeed
Beijing New Age Gallery, which has been committed to discovering and introducing to the public young contemporary artists, is pleased to present a solo exhibition on Nov. 7, 2009, under the title “Perfect Misdeed：Lin Xin’s Solo Exhibition”. This exhibition, as Lin Xin’s first solo, will give a broad overview of her artistic career.
This exhibition is centered around “perfect misdeed”, which is intended to bring into focus the fact that we and our society are inviting self-destruction and heading for the other extreme if we indulge ourselves in our restless pursuit of perfection, change, “development”, “progress”, etc. The virtual has conquered the real, as is common in virtual images in film and TV production, in virtual hi-fi sound, and in virtual language via computer codes. After tearing itself away and defeating its counterpart in the real world, the virtual that used to belong to the mirror images is no longer new to human beings who have thus been reduced to its substitute—reality is dispelled while virtuality prevails. In addition, we have got lost in our effort to change ourselves and the world, to which we can be actually no rival in terms of modification. Such is the basic weakness of our history. Human limitations in fact turn all our actions into misdeeds as it will be disastrous once everything changed starts to counterattack.
A recurring “simulacrum” in Lin Xin’s recent works is “humanoids”. They are made of electric wires, electronic components, plug, machines and metal, rich in variety, cold and science and technology based. “She” is cast in an exquisite and ideal image, both physically and physically, in various virtual contexts; “she”, elegant and delicate, bright and attractive, gender specific and capable of emotions, sometimes with multiple masks, holds talks and play games with herself in a strange virtual space of self and social space.
Her art seems to unfold “an ideal future”: variety of the body, equal individual potential and tele-presence, individual perceptive possibilities, individual environment, individual effort to keep their individual reality. Our skin, natural outer cover, will be broken. Our faces, artificial social masks, will be reinforced and diversified.
Lin Xin’s works are centered on simulacrum, a creative symbol, i.e., an image that, without the original (artificial ones) can be limitlessly reproduced and that, without a specific signified a representational symbol would have, constitutes a self-sufficient world of self reference (the image is not related to reality but goes beyond it). In addition, everything seems to freeze at that instant, and the fluidity and naturalness are nowhere to be found in her works. It takes place in the virtual reality that, seemingly familiar and strange as well, goes beyond time and space. “Cool Art” is an “artistic” world composed of simulacra, virtual reality, which, compared with the traditional easel painting, keeps us far removed from the aesthetic object (the painting in this case), and the strong impact of alienation and indifference is felt both psychologically and visually. The essence transmitted in this case, however, is a concept that is “super real”, “virtual, but might be real to the highest degree and the most manageable…”
Linxin’ art, reveals her affection toward the equipment and machines, a kind of feeling formed in the childhood of the first Chinese Only Child generation. Born in 1979, Lin Xin remembers the time when workers were highly valued. She spent a lot of time in those big workshops. In addition, the influence of pervasive modern technology and the digital network leads her to believe that “the virtual life might leave more truthful traces or existence”.
Such “super real” existence allows people more space for their own existence and ways to adapt themselves. Virtual existence becomes another way for people to live and to release themselves. In the virtual world, people play various “games”, imitating different life styles, and changing their identities. Time is “urbanized” (that is different from the urbanization in terms of space) and gradually the individual gets their bodies “urbanized”, so the communication between individuals can take place on different interfaces from the computer keyboard to screen and to data gloves.
According to Lin Xin, “Changes in the context, in the media, and in the ways of perception and existence, will surely result in changes in our way of thinking and creation.” “My works, intended to serve as a bridge connecting the virtual digital world and the real world of images, are my reflections about the two increasingly complicated worlds.” (Lin Xin)
The virtual culture in our age not only comes to an increasingly important position but also forces us to make new reflections and form new thinking patterns so as to adapt to these cultural changes. Electronic media, such as TV, computer and the Internet, are changing the relation between art and reality in a more radical way and giving rise to simulation and simulacra. The virtual reality and virtual culture help Lin Xin to form her own artistic features that are unique in this age.
林 欣
1979 生于江西上饶
2003 毕业于湖北美术学院油画系 获学士学位
2006 毕业于湖北美术学院油画系 获硕士学位
现任教于湖北工业大学
个展
2009 完美的罪，新时代画廊，北京，中国
主要联展
2009 亚洲年轻艺术家个展：从东京到伊斯坦布尔，中国国际画廊博览会，北京，中国
“同行”德中当代艺术展，武汉美术馆，武汉，中国
台北国际艺术博览会，台湾
美中文化交流邀请展,美国驻武汉总领事馆,武汉,中国
其他频道：媒体艺术展，美术文献艺术中心，武汉，中国
七．拍：武汉女艺术家当代油画作品展，湖北省艺术馆，武汉，中国
小姿态，至观艺术绘馆，武汉，中国
2008 “悬在空中，浮于表面”，林大艺术中心，北京，中国
新加坡国际艺术博览会，新加坡
独生宣言，新时代画廊，北京，中国
自由活动：年青艺术家项目，美术文献艺术中心，武汉，中国
物是人非：当代油画邀请展，石家庄当代美术馆， 河北，中国
创新世代•各执已见，新时代画廊，北京，中国
创新世代•各执已见，中国国际画廊博览会，北京，中国
“好•季节”武汉女艺术家当代艺术作品联展，武汉天地，中国
2007 抽离中心的一代：70后艺术展，798艺术区706大厂房，北京，中国
春市，美术文献艺术中心，武汉，中国
美术文献2007联展，美术文献艺术中心，武汉，中国
中国第八届艺术节，湖北工业大学展览馆，武汉，中国
2006 机会主义的秋天：2006限制与自由，美术文献新空间，武汉，中国
2005 第二届北京国际新媒体艺术展，中华世纪坛世界艺术馆，北京，中国
“耳语”当代艺术展，简庄生活工场，武汉，中国
“A O E”湖北美术学院优秀研究生作品展，湖北美术学院展览馆，武汉，中国
2004 “超级链”数码设计艺术展，武汉；上海，中国
《A4》绘画及图片展，视觉画廊，武汉，中国
2003 第二届湖北省油画展，湖北美术学院展览馆，武汉，中国
2002 物言物语：湖北省小幅油画小型雕塑展，湖北美术学院展览馆，武汉，中国
Lin Xin
1979 Born in Shangrao, Jiangxi Province.
2003 Graduated from the Oil Painting Department of Hubei Institute of Fine Arts. BFA.
2006 Graduated from the Oil Painting Department of Hubei Institute of Fine Arts. MFA.
Currently teaches in Hubei University of Technology
Solo Exhibition
2009 Perfect Misdeed, New Age Gallery, Beijing, China
Selected Group Exhibitions
2009 CIGE 2009 Mapping Asia, Beijing, China
Gemeinsam in Bewegung: Zeitgenössische Kunst aus Deutschland und China, Wuhan Art Museum, Wuhan, China
ART Taipei 2009, Taiwan
USA & China Cultural Exchange Invitational Exhibition, The U.S. Consulate in Wuhan, Wuhan, China
Other Channels: Media Art Activity Work Ⅱ, Fine Arts Literature Art Center, Wuhan, China
Seven Wuhan Female Artists’ Oil Paintings Exhibition, Hubei Museum of Art, Wuhan, China
Stance, Zhiguan Gallery of Art, Hubei , China
2008 Art Singapore2008-The Contemporary Asian Art Fair, Suntec, Singapore
“Hanging in Sky, Drifting on Surface”, Linda Gallery, Beijing, China
Declaration of the Only Child, New Age Gallery, Beijing, China
Free Activity: Young Artists Project, Fine Arts Literature Art Center, Wuhan, China
Things Never Change Though Persons Are Different: Invitational Exhibition of the Contemporary Oil Paintings, MOCA Shijiazhuang, Hebei, China
The Age of Innovation•Being persistent, New Age Gallery, Beijing, China
The Age of Innovation•Being persistent, China International Gallery Exposition, Beijing, Chian
“Good•Season” Group Exhibition of the Contemporary Works of Wuhan Women Artists, Wuhantiandi, China
2007 Off-centering: the Post-seventies Group Show，706 Space, 798 International Art District, Beijing, China.
Spring Market, Fine Arts Literature Art Center, Wuhan, China
Fine Arts Literature Group Exhibition , Fine Arts Literature Art Center, Wuhan, China
The Eighth Festival of Arts in China, The Exhibition Hall of Hubei University of Technology, China
2006 The Fall of Opportunism: 2006 Restriction and Freedom, The New Space of Fine Arts Literature,
Wuhan, China
2005 The Second Beijing International New Media Art Exhibition, World Art Museum of China Millennium Monument, Beijing, China
“Whisper” Modern Arts Exhibition, Jianzhuang Living Workshop, Wuhan, China
“A O E” Works Show of Excellent Graduate of Hubei Institute of Fine Arts, The Exhibition Hall of Hubei Institute of Fine Arts, Wuhan, China
2004 “Superlink” Art Exhibition of Digital Design ,Wuhan; Shanghai, China
A4 Painting and Photograph Exhibition, Vision Gallery, Wuhan, China
2003 The Second Hubei Oil Painting Exhibition, The Exhibition Hall of Hubei Institute of Fine Arts, Wuhan, China
2002 Words of Articles: Exhibition of Small Pieces of Oil Painting and Small Statues in Hubei Province, The Exhibition Hall of Hubei Institute of Fine Arts, Wuhan, China
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