What's the name of this work? Thank you.

Lin

196 1 was born in Taiyuan, Shanxi Province, 1984 graduated from the Fine Arts Department of Capital Normal University; 1989 graduated from new york artists union college; 1995 participated in "China Women's Invitational Exhibition" (Beijing); 1998 participated in Women of the Century (Beijing); In 2000, he participated in the second Fukuoka Triennial Exhibition (Fukuoka); In 2004, he participated in the Gwangju Biennale (Gwangju) and so on. In 2006, he won the "Martell Award for Best Artist of the Year" and was one of the representatives of experimental art in China.

Lin, born in Shaanxi, 196 1, is the most famous installation artist in China. She combined various pieces of cloth, strings and other materials into a huge device. Influenced by female artists such as AnnHamilton, BarbaraKruger and KikiSmith, Lin initially expressed her thoughts on women's life and trivia by using household items and other daily necessities, or by wrapping or regrouping with white lines. The long white line and hemp rope are intertwined, reminding people that women are tired of all kinds of tedious housework. Since then, Lin has tried to combine photography with video. In 1998' s work "Braid", the image of an artist's canvas nearly 4 meters long hangs high, and one end of a white string is connected to the canvas, while the other end is irregularly dragged on the floor, suggesting that various seemingly inconspicuous traditional customs can eventually form a cultural stereotype that manipulates people. In 2002, artist Lin and her husband Wang created installation works here? Still there? In the photo, strange-looking models are dressed in ghostly costumes and haunt open fields, quaint gardens, parking lots and other places, symbolizing the lingering sense of alienation in contemporary society.

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The following article is reproduced on the website of "Oriental Vision":

Lin: Open intuition.

We should treat everything around us with an open mind, a liberated way and a skeptical and critical attitude.

-Lin

Lin, with short hair and quick personality. It's a bit daunting when you don't laugh, but full of innocence when you smile. As one of the most influential contemporary female artists in China, she has shown a strong personal style in installation art and conceptual photography.

Some people have commented that Lin's artistic works contain "denial of female identity", but in fact, she "has never denied her identity as a wife and mother of children". Women are also the other half of human beings. "Woman" doesn't mean that what she does will be inferior to others. As a woman, Lin is "a woman because she is a woman".

Similarly, Lin never thought that her previous works were related to feminism. "According to western theory, the women's movement developed consciously, not who gave it the concept of' half the sky'. China has never had a women's movement. "

Lin Ziran is. In her works, more emphasis is placed on personal life experience-"Everything should be natural. Women are more intuitive. " In Lin's view, the true state of peace is a state of "no desire, no desire", which is peaceful, natural and commendable. As the first generation of female artists in China's contemporary art, Lin's artistic state wanders between resisting and struggling, expressing as a woman and trying to be equal with men.

At present, China's art criticism system has dual and harsh criteria for judging female artists. They are required to have a sense of mission and struggle against the patriarchal society, to be equal to men, and to make their works unrecognizable by female artists. Not only that, the pressure of women also comes from the family, and she has the responsibility entrusted to her by society to be a husband and a child. These are not easy for Lin and all female artists. In fact, a woman needs to surpass men in order to fully reflect her own value. After a calm analysis, Lin found that this kind of double standards and requirements is actually strongly dominated by men, which actually devalues the role of personal experience, personal sensitivity and intuition in his works-which are particularly precious to China now.

When talking about China's contemporary art, Lin calmly said that in the past 20 years, China's contemporary art has not made a significant contribution to the world, but China's contemporary art has its own way of expression. No matter how cosmopolitan, limited and localized China contemporary art is, it is a part of contemporary culture after all. In her view, it is higher than China's contemporary dance, drama, song and dance, literature and philosophy, and contemporary art is still an advanced culture in the whole culture of China. "No matter how unreliable China contemporary art is, it is still constructive."

Lin's attitude towards the phenomenon of "mixing art and fashion" is very sharp. "As an artist, you should have your own independent views on fashion and criticize the sociality of fashion culture." She thinks that many artists and their exhibition works lack the spirit of criticizing and questioning fashion. "If you want to participate in fashion with art, you must see through fashion, be higher than fashion, be meaningful, and play a constructive role in the healthy development of fashion."

Lin's latest printmaking works are completed in cooperation with the Taylor Printmaking Institute in Singapore, which enjoys a long reputation in the world printmaking field. Because she has never studied printmaking, she is very open-minded when making printmaking and using printmaking as a medium. The collection of her works by MOMA Contemporary Art Museum in new york "is a great affirmation for her-the original prints can still do this!" Although printmaking itself is an ancient medium, Lin can do it from a new angle. "We should treat everything around us with an open mind, a liberated way and a skeptical and critical attitude."