中文

Art Critic (6)

JuN & WP
Lin Yiiin is regarded as one of the spokesmen for the "Big-Tail-Elephant" group, initiating an independent Chinese trend in art. During the October 1992 preparatory meeting for this group's exhibition he formulated the claim with a particularly aggressive nationalist emphasis: "Regarding the arts, I am of the opinion that we should attack contemporary Western art, but to do so we need a transition period during which we should accept Western art... I feel that an attack entirely based on Chinese elements of art is not enough".
 
During 1985/86, the "Big-Tail-Elephant" group, to which besides Lin Yilin, Liang Juhui and Chen Shaoxiong also belong, organized the legendary Guangzhou happening called "Salon" , which attempted to combine different forms of art such as fine arts, music, theatre, literature and philosophy into a unitary form. Even the public was involved as they are in Western "happenings".
 
The group currently mainly produces installations. Lin Yilin himself concentrates on research into the interdependence of architecture and sculpture.
 
In 1991, within the framework of a Canton group exhibition he constructed enormous sculptures, symbols of walls, from bricks and angle-irons, collected or bought at a demolition site. He called this piece "Standard Series of Ideal Residence Buildings" : "In this series of works I used architectural techniques to summarize my own knowledge of architecture... These works were built in contradiction to architecture and tending more towards Fine Arts but because they are installations with a limited life-span, they are contradictory to sculpture". Another aspect of his conception is the essential clarification of physical energy and power found in the working process of his installations. "For the execution of architecture or sculpture one needs only physical strength. The thinking develops according to physical strength".
 
During the last Canton exhibition (October 1992) of the "Big-Tail-Elephant"  group, Lin Yilin created "Equipment for Living" , another installation, extending over an entire hall and several rooms. On low brick plinths he built imaginary walls from reinforcement mats. Above the brick wall foundation, which represented the old culture, he used modern building materials. On the one hand the cage-like grilles conveyed a feeling of depression, but on the other hand they gave a modern, technological impression due to their openness. Opacity and transparency, fullness and emptiness are standard aesthetic principles of Chinese art. Lin Yilin's "wall sculptures" use the surrounding space and even break through walls if necessary. The ironic title "Equipment for Living" relates to several household  machines for the cleaning of waste pipes, "imprisoned"  in the grille cages. Above them float some brick blocks and two flexible aluminium tubes which look like pieces of intestines. By combining such ordinary objects, he emphasizes the social and external elements within the work.  
 
 
China Avant-Garde catalogue, P.141