Rockbund Art Museum 上海外滩美术馆

On June 24, 2018, the artist Lin Tianmiao, whose first institutional solo exhibition in Shanghai is about to start on June 26, 2018 at the Rockbund Art Museum, will have a dialogue with Alexandra Munroe, the curator of this exhibition, on her previous artworks and the recently created glass installations. The dialogue will be hosted by the assistant curator Xiaorui Zhu-Nowell. In her artworks that present her powerful personal artistic language, Lin tries to make audience impressed visually and physically by the special characteristics of the materials she has applied.

In this upcoming dialogue, Lin, along with the two curators, will discuss and analyze how she conceived the ideas during her creation and what kind of unique artistic language is conveyed in her artworks through use of new materials.

艺术家林天苗的上海首场个人专题展览于上海外滩美术馆开幕之际，她将于2018年6月24日与本展的策展人亚历山德拉·孟璐探讨其新创作的玻璃装置作品以及过往的艺术创作，本次访谈将由展览助理策展人朱晓瑞主持。林天苗的作品带有极强的个人化艺术语言，尝试调动材料的特性以最终带给观众一种视觉上和身体上的感受。

本次访谈我们邀请艺术家和策展人一起来探讨、分析艺术家在创作过程中的思考以及新材料在其作品中所具有的独特语言。

Lin Tianmiao was born in 1961 in Taiyuan, China. She now lives and works in Beijing, China.

Lin Tianmiao studied in the Fine Art department of Capital Normal University, Beijing in 1984. She then went to the US in 1988. After graduating from the Art Students League in New York in 1989, she worked as a designer in New York for almost seven years. In 1995, Lin Tianmiao returned to China from New York. Presenting The Temptation of St. Teresa, The Proliferation of Thread Winding, Pants, Trees, among others in an open studio, she thus laid out the important positions of her engagement in experimental art; during the same time, she became known as one of the first Chinese female artists to gain international recognition. During the 1990s, when “apartment art” was a phenomenon in Beijing and Shanghai, Lin gained a great deal of experience. Lin’s early works are known for her practice of thread-winding where she binds the material—usually silk, hair, cotton, or felt—tightly around found and manufactured objects. Initially tasked by her mother to spool cotton as a young girl, Lin later reclaimed this act. Lin’s work studies her own social role and the relationship between identity and social context, questioning women’s identity. In 1998, Lin and Wang Gongxin created the Loft Media Center. She had done everything from infrastructure and interior decoration to design, supervision, equipment management, organization, etc. It laid the foundation for holding hundreds of cultural events in the future. In 2012, the Asia Society Museum in New York presented Bound Unbound, the artist’s first major solo museum exhibition in the U.S.

She has participated in the Istanbul Biennale, Turkey (1997); the Shanghai Biennale, China (2002); the Ireland Biennale (2002); the Gwangju Biennale, South Korea (2002, 2004); and the Setouchi Triennale, Japan (2016). In 2015, Lin had a solo show as a farewell for feminine themes entitled “1.62M” which was held in HOW Art Museum. In recent years, Lin has come out of the predicament of feminism, and has created large-scale installations, sculptures, photography, videos and various other media practices with an open mind.

Alexandra Munroe, PhD, Samsung Senior Curator, Asian Art, and Senior Advisor, Global Arts, Solomon R. Guggenheim Museum, is a pioneering authority on modern and contemporary Asian art and transnational art studies. She has led the Guggenheim's Asian art program since its founding in 2006 while also working on the Guggenheim Abu Dhabi Museum and the Guggenheim UBS MAP Global Art Initiative. She convenes the museum’s biannual Asian Art Council, a curatorial think tank, and directs The Robert H. N. Ho Family Foundation initiative in contemporary Chinese art.Munroe has organized many award-winning and critically acclaimed exhibitions that have promoted international scholarship and recognition on modern and contemporary Asian art. She is recognized for launching the international critical appraisal of artists Cai Guo Qiang, Daido Moriyama, Yayoi Kusama, Lee Ufan, Mu Xin, and Yoko Ono, among others, and for bringing such historic avant-garde movements as Gutai, Mono-ha, Korean Tanseakwa and most recently, Chinese conceptual art, to international attention. Raised in Japan, Munroe was former Vice President of Japan Society, New York, and former director of its museum. She holds an MA from the Institute of Fine Arts, New York University, and a Ph.D. in History from New York University. She serves on the advisory boards of Rockbund Art Museum, Shanghai and is a trustee of the Institute of Fine Arts, New York University. She is a member of the Council on Foreign Relations, New York.

Xiaorui Zhu-Nowell, Assistant Curator at the Solomon R. Guggenheim Museum, contributed to the research and implementation of theexhibition Art and China After 1989: Theater of the World (2017) andits tour to the Guggenheim Museum Bilbao and the San Francisco Museum of Modern Art. She holds a master’s degree (SMArchS) from the Massachusetts Institute of Technology in the department of History, Theory and Criticism of Art and Architecture, where she completed her thesis, titled, CAPITALIST REALISM: Making Art for Sale in Shanghai, 1999. She also received a BFA in art history, theory and criticism from the School of the Art Institute of Chicago. Prior to joining the Guggenheim Museum in 2014, she assisted Carolyn Christov-Bakargiev on the 14th Istanbul Biennial SALTWATER: A Theory of Thought Forms and held positions at the Museum of Contemporary Art, Chicago.

林天苗1961年出生于山西太原，现居住和工作在北京。1984年研修于首都师范大学美术系。1988年赴美，1989年于纽约艺术学生联盟学院学习，后以设计师的身份在纽约工作了近7年时间。1995年林天苗从纽约回国，在“开放工作室”的艺术活动中展出了“缠的扩散”、“圣德蕾娜的诱惑”、“裤子”、“树”等作品，奠定了她从事实验性艺术的重要性地位，同时也是第一批获得国际关注和认可的中国女性艺术家之一。以90年代在北京、上海等地发生的“公寓艺术”概念，林的艺术实践被囊获其中。在她早期作品中，她以线缠绕的习惯而闻名，她将丝绸、头发、棉花等材料紧紧缠绕在她发现和制造的物体表面，其行为源于林幼年协助母亲收集整理棉线、毛线缠绕习惯的记忆。林的工作从研究自身处境的体验感悟出发，兼顾社会角色身份与社会背景之间的关系，质疑女性单一社会角色的传统观念。1998年创建了“北京藏酷新媒体艺术空间”，从基建、内部装修做设计、监工、设备管理、协调等事务；1999年协调有关“北京藏酷新媒体艺术空间”组织、赞助、宣传、策划等等活动，为“北京藏酷新媒体艺术空间”举办上百场次的各种文化活动做最基础的幕后工作。2012年，成功在亚洲协会美术馆举办了《林天苗：缠了，再剪开》个展，此展览是林首次在美国美术馆举办的展览。1997年土耳其的伊斯坦布尔双年展；2002年上海双年展和爱尔兰双年展，2003年越后妻友三年展；2002年和2004年两届的韩国光州双年展；2016年日本濑户三年展。2015年林以告别女性话题为主线的个展“1.62M”，在昊美术馆举办。近年来林试图摆脱女性主义话题的困顿，以开放的姿态游走于大型装置、雕塑、摄影、视频及各种其他媒介实践的工作中。林的作品被很多中外美术馆收藏：纽约的布鲁克林美术馆、纽约的MoMA、澳大利亚国家美术馆、旧金山MoMA、香港的M+、西雅图当代美术馆、新加坡美术馆和蓬皮杜美术馆等等。

亚历山德拉·孟璐博士现任古根海姆美术馆亚洲艺术部三星资深策展人、全球艺术高级顾问，是现当代亚洲艺术和跨国艺术研究领域的一名开创性权威专家。自2006年古根海姆亚洲艺术部成立以来，孟璐一直是该部门主管，同时她还参与了古根海姆阿布扎比馆和瑞银MAP全球艺术行动的工作。她为美术馆召集了两年一届的策展智库“亚洲艺术委员会”，并负责何鸿毅家族基金的中国当代艺术项目。孟璐博士策划了诸多广受赞誉并获奖的展览，促进了国际学界对亚洲现当代艺术的研究与认知。她的努力让许多艺术家得以进入国际评论的视野，包括蔡国强、森山大道、草间弥生、李禹焕、木心和小野洋子等等，此外还让一些具有历史意义的先锋运动得以为世人所知，譬如具体派、物派、韩国单色画，以及较晚近的中国观念艺术。在日本期间，孟璐曾任纽约日本协会副会长，以及协会附属美术馆馆长。她拥有纽约大学美术研究所硕士学位和纽约大学历史学博士学位。她是上海外滩美术馆艺术委员会成员，以及纽约大学美术研究所理事。此外还是纽约外交关系协会成员。

朱晓瑞是纽约古根海姆美术馆的助理策展人，她参与调研并协助实现了展览“1989 年后的艺术与中国：世界剧场”（2017 年）及其在毕尔巴鄂古根海姆博物馆和旧金山现代艺术博物馆的巡展。朱晓瑞拥有麻省理工学院建筑学理学硕士学位，研究方向为艺术与建筑的历史、理论与批评，发表有硕士论文《资本主义现实主义：作为商品的艺术在上海1999年》。此外，她在芝加哥艺术学院取得艺术史、艺术理论与艺术批评专业学士学位。2014 年加入纽约古根海姆美术馆之前，她曾协助卡洛琳·克里斯托夫·巴卡捷夫（Carolyn Christov-Bakargiev）在第十四届伊斯坦布尔双年展《盐水：思想形式的理论》，并曾任职于芝加哥当代艺术博物馆。