Forests: beyond mountains

Spokesman: Yang, forest spring

Academicly moderated: Djomo Burney

Integration: yellow round

No.

Exhibit Assistant: Zhang Zhenmin

Time: 8 April - 23 May 2022

Hosting: Hiroshima

United Nations

Location: China National Plant Park 2#~3#

Summary of exhibits

A exhibition project, “Formography: Beyond Mount”, drew attention to the work of contemporary artists in the different periods of forestography, drawing on natural series — in the series of ink map sheets on nature — at different times, reaching mountain series, wetland series, intra- and outdoor devices and speeding at various times. Linmin is a natural snapshot, and he continues to observe changes in the ethic and world patterns, leading to “in advance” knowledge production systems. The exhibition traces the natural law and world order of his image in-house, dating from his miracle of personal art and finding him, as a space carpenter, to hide in the image the identity of the architect of the natural architect. Let viewers move from the painting itself to a broad natural domain to explore the relationship between his images and their accomplices, and respond to the fact that artists continue to look at the practical path of their own return to natural experience, and to open a halfway to watch, so as to identify complex leads of artistic practice across a wide range of languages and different countries, leading us to “outside the mountains”. This exhibition, together with the Museum of Fine Arts: A Wetlands of Building and Bhume, reached two “Forests” exhibits during the same period, from mountains, buildings to nature, and a completely new “forests” is emerging, but remains silent.

Forest-mining outside or before

Limang

The continuous “cluster” of the light line and the space campaign constitute a focus of forested images, and we can rediscover the world order from the liberation of his images. He sought new visual mechanisms in adversarial forms, such as pumping, confusing and branding, to dissuade from the constraints imposed by restatement. The non-emergency narrative is the sensitivistic export of forest artistes to the fine history of fine arts, focusing on the updating and re-engineering of mixed languages. The symbols or descriptors are important in the images of forest science, and the role of non-scriptors that are not involved in the regular narrative process of the map is particularly prominent and more reflective of the descriptive function of the symbol in his non-discretionary. A detailed description of the relationship between a series of facts or events and the identification and scheduling of symbols has eventually led to a classification of “means”, which has mobilized the dynamic complexity and contradiction in the sense of hidden watch.

The images of forest science continue to update methodological arguments that extend from form to form, are bold and liberal, and are faltered by rigid and rigid sections in the form of content decisions. He traces the emotional patterns and spiritual peculiarities of the atmosphere of blurredness, embarrassment, non-linear narrative, casing speculation, mulides, etc. and removes the mechanical shape of the physical entity. After careful thought, he systematically liberated emotions such as in the field in image or in the field, and temptations and temptations were circumscribed in a measured manner, and his thoughts were based on the dialectical reactions of the images. He expressed his substance and spirit through images. The knowledge-based mechanisms of the images have become the spirit of his diverse experiences and feelings, thoughts and memories that are uncommon and open.

The visual logic of forestography in language dressing is used to extract knowledge of everyday life. The day-to-day sorting is the physicalization of his visual attitude. He has always consciously introduced his day-to-day experience into the scene of images and devices, from the “Travelling” series to the Wetlands series, from the installation of the Wall to the Wall of the Spirit, revealing artists’ reflections on ecology, social circumstances and the world landscape, where occasional events and circumstances have brought everyday things into a state of extraordinary or exceptional circumstances.

In the case of the lucrative quotation of the “mounts”, it is a forested attempt to re-establish order in the world. He is constantly refining his visual glossary and the law behind it, while materials, structures and ideas are reconnected in his grammar law in a non-performing, divisive language. He repeats the world through language and doubts about the language being distinguished from reality in agreed custom.” Forest science is awakening more effective watching between languages and daily. His image denied that the arts were a United States output, that they were both thought and thought-provoking, and that they were replaced by philosophies.

The dilution of forestography between the markers corresponds to the separation of the structure of the roof by the architect from that of the building structure, and the lack of space for the roofs and the building space, creating an overlapping sense of space. By placing this huge tectonic tectonic tectonic tide with the “krom” confrontation, the architect wants to reassert the line of view and attention to the immediate land, emphasizing the life-threatening perception of this land — There is no boundary, and artists and architects have a large place in their thinking, and forest science is outside the “travel” or before.

Rebeling to reality has turned a lucrative to the point of view, and they will demand that the full weight of the matter fall to the end of what they belong. When a person uses his or her language, he or she is always based on the experience of his or her life, and experience is open to images or buildings through words. The images of forest science show a deep personal experience, the more general memories that inspire people. Mobile images and domains are constantly operating in multiple variations, not spontaneously generated, but are divided into a number of work steps that are slowly completed over a long period of time. The apparent performance of the muscle is actually calculated and considered. At the same time, this image practice provides him with the opportunity to adapt to different forms and colours. At the heart of the viewing will be watching, scrutinizing or screaming, in the interaction of the mindsets of the viewers, it will not be possible to reach indefinitely the leads of the images, devices and domains of forest science. (Lesson from Forest Spring, 1982-2023-)

On artists

Forest science

Lin Minh, born in 1954 in four municipalities in the Province of Guangxi, China, grows in the family of the Chinese Diaspora background and starts thinking on the intersection and differences of Chinese and foreign cultures. Graduated from the Central Polytechnic Institute in 1982. The faculty, with the names of the U’s Coron, Zhang, Zhang, Zheng and wish for the Year, was rated by Mr. U’s Coron as the “pupil of the best picture”. 1987 Visit to the State University of San Diego, California, United States