拾萬北京 | 即将展出 | 林山：摇曳
拾萬空间（北京）非常荣幸地将于2023年10月21日呈现林山个展：摇曳。林山的绘画一直与自己所处之地相关联，她试图以观察者的角度，对“林山”（自我）和“山林”（周遭）进行思索。这次展览，主要展出她近两年的创作。
Hunsand Space (Beijing) is honored to present Lin Shan's solo exhibition, "Swaying," on October 21, 2023. Lin Shan's paintings have always been closely connected to her surroundings, and she attempts to contemplate the "Lin Shan" (herself) and the "Shan Lin" (surroundings) from the perspective of an observer. This exhibition primarily showcases her work from the past two years.
艺术家：林山
展期：2023年10月21日 - 2023年11月30日
开幕：2023年10月21日（周六下午四点）
2023年入秋，深圳福田区的一间五十多平方米的公寓房，说是住所但更像工作室。一进门，入口约六平米，是休息区，床铺可折叠收回墙柜里。被隔开的里屋，通常应是更私密的空间设置，这里几乎让渡给了创作，约三十平米的地方被画占满了。墙面上是小画，地面上是大画。林山说，画里与身体等高的树，就像自家楼下的树，于她而言更真实。
作为人类共同体的个体，我们无法脱离他者，真空地看待自我。林山看到现代人的处境和困境，反观自己亦是。2021年，城市里景观植物和家里养殖植物，开始以各种人的姿态幻化在她的笔下，风雨摇曳。人规训他者的同时，也会受到反噬。在控制中，建立临时的归属感，同时失去了彼此更自由的纬度。花蜜是传粉者的奖励，果实是播种者的犒赏，表层的尖刺、皮内的毒液则用来抵御掠食者。植物为了生存，同样有利用他者和攻击他者的“动物性”。人、植物、动物，在生存法则里都有强烈的求生共性。画面里，人与景物开始融为一体，形与形的关系也更为明确。我是他者，他者也是我。前景的拟人植物，透过中景的窥视窗口，与背景的大山大水呼召。相比于之前的肖像画，她借用了传统肖像画的构图方法，但又可以在山林里隐藏踪迹，让人在看画时，时时有新的寻见，也成为如她的观察者。
林山,1988年生于广东深圳，现生活和工作于深圳。2012年本科毕业于中国美术学院壁画系，2015年硕士毕业于意大利威尼斯美术学院绘画系。
林山将她日常所见的植物以拟人化的手法描绘在画面上，来表达人的情欲和人与人之间微妙的关系。调皮生动的造型将观看者引入幻境，此境中有她营造的松弛和轻盈。她所画的大部分植物是被人圈养的，试图将画面前景的绿化带植物或盆栽植物回植到后景的野外中去，但这种向往的野性最终受到多年沉积在意识和身体里的规训所羁绊。
Artists: Lin Shan
Duration：21 Oct. 2023 - 30 Nov. 2023
Opening: 4pm, 21 Oct. (Sat.), 2023
In the autumn of 2023, a modest apartment of over fifty square meters in Futian District, Shenzhen, serves as both a residence and a studio. Upon entering, there is a resting area of about six square meters, and the foldable bed can be stowed away in the wall cabinet. The separated inner room, typically a more private space, has been almost surrendered to creation. About thirty square meters are occupied by paintings. On the walls are small paintings, and the floor is covered with large ones. Lin Shan remarks that the trees in her paintings, which are as tall as a human, resemble those just outside her building and feel more genuine to her.
As individuals within the human community, we cannot detach ourselves from others and view ourselves in isolation. Lin Shan perceives the predicaments and challenges faced by modern people and reflects on her own situation. In 2021, landscape plants in the city and cultivated plants at home began to morph into various human postures in her brushwork, swaying with the wind and rain. While humans impose rules on others, they also face backlash. In the pursuit of control and the establishment of temporary senses of belonging, they lose the latitude of mutual freedom. Nectar serves as a reward for pollinators, while fruit is the recompense for seed dispersers. The surface thorns and internal venom are used to fend off predators. For the sake of survival, plants, like animals, employ their "animality" to utilize and defend against others. Humans, plants, animals—all share a strong commonality in the law of survival. In Lin Shan's artwork, humans and landscapes begin to merge into one, and the relationships between forms become clearer. "I am the other, and the other is me." Personified plants in the foreground, through the peephole of the middle ground, beckon towards the vast mountains and rivers in the background. Compared to her previous portrait paintings, she borrows the compositional methods of traditional portraiture but can hide traces within the mountains and forests. This allows viewers to constantly discover new perspectives while becoming observers themselves, just like her.
Lin Shan, Born in 1988, lives and works in Shenzhen, China. She graduated from the China Academy of Art majoring in Fresco in 2012, and apprenticed with Carlo Di Raco for her master degree from the Venice Academy of Fine Arts in Painting in 2015.
Lin Shan’s paintings depict the plants in her everyday life in an anthropomorphic way to express lust and the delicate relationship between people. The playful and lively shapes lead the viewer into a fantasy world with the relaxation and lightness she created. Most of the plants she painted were kept in captivity. She tried to replant the green belt plants or potted plants in the foreground of the picture into the wild in the background. However, this longing for wildness was finally fettered by the disciplines deposited in consciousness and body for many years.
相关链接：
拾萬 ｜ 石家庄
深入太行山
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祝洵：它看
2023年9月23日 - 2023年10月29日
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拾萬空间（北京）于2014年成立于北京草场地艺术区，2018年迁至北京798艺术区，并于2021年年底开设石家庄分馆拾萬当代艺术中心，于2023年在杭州龙坞开设分馆。拾萬空间（北京）作为专业画廊，对常规意义的方盒子展览保持警惕，意欲从当代艺术语言中的语法和语意结构出发并将之延展到更广泛的领域；希望通过持续的展览和项目，激发出当下文化中被忽视的部分，将当代艺术思想的价值生发到你我的身边。