Solo Exhibition ShanghART Singapore, Singapore
Opening: 7 Sep 2024
7 Sep - 10 Nov 2024
Wednesday to Sunday, 12pm – 6pm,
other hours by appointment only
9 Lock Road, #02-22, Gillman Barracks, Singapore 108937
+65 6734 9537 | infosg@shanghartgallery.com
shanghartgallery.com | FB & IG: @shanghart.singapore
ShanghART Singapore is delighted to present Lin Aojie’s solo exhibition “Playing it Safe in 2023, Praying for Wealth in 2024”, opening 7 September 2024 at 4pm. The exhibition brings together recent works by the artist, showcasing witty insights gathered from his observations of the art industry, the society, and the world at large.
Marking his debut exhibition in Southeast Asia, the self-proclaimed Southeast Asian artist (Lin is based in Guangzhou) was inspired to adapt the iconic political cartoon “The Situation in the Far East” (时局图) with a contemporary twist to create his new iPad painting “My Global South”. His distinctive style is perfectly demonstrated through the cartoon-like aesthetics, historical references, layered symbolisms, as well as reflections and observations of the art world and its relations to the wider society. These elements continue to manifest themselves across the other works in the exhibition in various forms.
As the exhibition title suggests, the works presented reflect the human condition as perceived by the artist, most notably through the pair of video works created in last and this year. A series of conversations across the two videos reveal the inner desires and the fundamentals of human nature, with “Ultimate Super Dodgy Talk” (2024) hidden within the gallery and only accessible to the ones who are brave enough to take the extra step.
The Chinese title “人间” roughly translates to ‘the world of mortals’, highlighting the observations of the human society from a broader perspective. However instead of positioning himself as a superior viewpoint, Lin humorously inserts himself across his works. These paintings reference various settings such as the life of an artist and the art gallery system, to the geopolitical situation, as well as the unspoken rules and power dynamics in a society.
Conspicuously, the only works that he is absent from are the triptych depicting the Three Deities. The figures are instead surrounded by a diverse variety of motifs ranging from traditional beliefs to urban myths, forming a comprehensive image of humanity’s biggest wants through the ages. Once again showcasing Lin’s signature style, the works blend traditional references with a contemporary approach by presenting these mouse paintings akin to how traditional Chinese posters are stuck onto the walls of their homes for blessing and protection, except that they are in a commercial gallery space this time.
Threading both personal narratives and universal motifs, Lin ingeniously creates seemingly simple yet extremely layered paintings that present a multitude of ways of reading. His approach of discussing serious topics in a light-hearted manner positions himself as a unique voice in this increasingly complex and fragmented world.
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