Exhibition SiteIn today's silicon-based civilization, where algorithms are used to reconstruct the definition of life, the term 'evolution' is undergoing unprecedented demystification. Human beings view themselves as the ultimate form of carbon based life, and fervently pursue the "dimensional upgrade" towards silicon-based life. Behind this one-dimensional evolutionary narrative lies deadly cognitive violence. Zhao Lin's clay sculpture creation is like a retrograde antidote. He uses the traditional technique of clay strip coiling to recreate the symbiotic relationship between humans and animals, which has been fragmented by modernity, in the kiln fire. With clay as the oldest medium material, he deconstructs the arrogant cognition of anthropocentrism.
Exhibition SiteThe traditional evolutionary theory constructs a linear picture from apes to humans, placing humans at the top of the evolutionary tree and giving them legitimacy to dominate others. In Zhao Lin's "Symbiosis" series of works, the creature that combines humans and animals silently declares that evolution has never followed a single direction. The animal figures with elongated necks and winged shoulders are neither ancestral phenomena nor genetic mutations, but a thorough deconstruction of the binary order of "higher/lower".
Exhibition SiteWhen owls and girls share the same clay body, when leopards stand with their heads facing each other, the hierarchical system of evolution collapses here, and all life shares this land. Humans and animals are domesticated in entanglement, interdependent, fearful, and symbiotic.
Exhibition SiteAs Russian Victor Shklovsky said: "Art" is to make people feel things and make stones show the texture of stones. The purpose of art is to make people feel things, not just know things. "Zhao Lin deliberately retained the" misunderstanding "and" deviation "in the process of shaping, so that the clay exposed the biological instinct shared by humans and animals in the uncontrolled growth of morphology - those survival desires, lonely plight and absurd collusion whitewashed by reason. When 3D printing simplified creation into data input, he insisted on the most primitive energy exchange between his fingers and clay. Every fingerprint on the clay plate was a book of resistance to digital cloning technology.
Exhibition SiteLife never evolves towards order, but seeks temporary balance in chaos. Zhao Lin revealed a truth obscured by evolution theory through the plasticity and fragility of clay: the so-called "higher life" is nothing more than a carbon based existence that has learned to dance with disorder. These seemingly bizarre symbiotes of humans and animals may be the best commemorative book left by carbon based civilization to the silicon-based era: they absurdly yet elegantly prove that the value of life lies not in the strength of computing power, but in the ability to build resonance among all things.
Exhibition SiteIf humanity inevitably moves towards the silicon-based path on the path of evolution, Zhao Lin will complete an artistic expression of anti evolution theory in the world of art. This expression is not only artistic, but also full of humanistic spirit and poetic romance. While artificial intelligence experts are busy drawing the blueprint for Life 2.0, this artist is alone in his studio in Jingdezhen, rewriting a theory of reverse evolution of life with his muddy hands - where humans finally learn to lower their proud necks and let the beastly pupils in the clay guide us back to the entrance of the Republic of Life.
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Anti-Evolution
Opening ceremony scene
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Opening Ceremony
Welcome to the exhibition of Zhao Lin's "Reverse Evolution Theory". Although the preparation time for this exhibition is relatively short, Zhao Lin's works vividly present the profound relationship between humans and nature, humans and life with their unique artistic language. Although Zhao Lin did not have a background in sculpture, she skillfully integrated ceramic techniques into her sculpture creations, creating a highly distinctive artistic world.
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His works exhibit distinct characteristics in both visual expression and conceptual communication, enabling the audience to directly perceive his creative philosophy. At this special opening moment, we look forward to hearing the opinions of the artist himself and all the teachers, and jointly exploring the thoughts behind the works.
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I am delighted to gather with all of you at this exhibition venue. I am familiar with Zhao Lin's works and have a deep connection with him, so I came to Beijing specifically to support his artistic activities. As you can see, his sculptures have intuitive beauty and interest, resonating with the aesthetic experience of contemporary audiences.
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This exhibition has formed a deep resonance with modern society and the current living conditions of people in both form and ideological connotation. Zhao Lin's works do not pursue superficial innovation in form, material, or subject matter, but focus on the inner spiritual expression of the work, organically integrating the artist's ideas and aesthetic consciousness, presenting rare authenticity and originality.
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In the current context of homogenization in artistic creation, Zhao Lin's works exhibit distinct personal traits. He neither simply appropriated traditional symbols nor mechanically imitated European modernist sculpture, but drew nutrients from the different contexts of Eastern and Western sculpture art and transformed them into unique spiritual expressions. This creative transformation reflects his unique insights and innovative value in art. In the current economic environment, it is particularly rare for the Common Art Center to hold such an exhibition. They support exploratory artistic practices with a professional perspective and have made important contributions to promoting the diverse development of the art ecosystem.
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Professor and doctoral supervisor at the School of Fine Arts, Tsinghua University
Mr. Zhang Fuye, doctoral supervisor of China Academy of Art, delivered a speech on site
Good afternoon everyone, I am Zhang Fuye from the Academy of Fine Arts, Tsinghua University. It is a great honor to visit this wonderful exhibition at the 798 Common Art Center today. Before coming, my old classmate Wang Jian showed me some of his works through his phone, which deeply attracted me. Although the journey from Tsinghua University to 798 is quite long, I have decided to come and visit no matter what due to my strong interest in the works.
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After on-site observation, these works left a deep impression on me. The most prominent feeling is a strong modern atmosphere rushing towards us. These works represent both the new aesthetics of the current era and the dual characteristics of pottery and contemporary sculpture. Its novel appearance fully demonstrates the innovative aesthetic concepts of young artists, which have a distinct international perspective.
Exhibition SiteIt is particularly noteworthy that these works have freed themselves from traditional constraints and are no longer confined to established creative norms. This is precisely the artistic characteristic of our era - no longer emphasizing the binary opposition of either or, but pursuing to see the rainbow between black and white and discover new possibilities between each other. The creation of contemporary young artists should be based on the present and oriented towards the future, without being confined to traditional evaluation criteria. Adhering to this creative direction will undoubtedly broaden the prospects for artistic development.
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Hello everyone, it's an honor to attend the opening ceremony of Professor Zhao Lin. I met Teacher Zhao Lin in Jingdezhen, and as a colleague who is also engaged in ceramic sculpture creation, I am well aware of the technical difficulties contained in his large-scale ceramic works. In the process of co creation, I witnessed firsthand his enormous workload - building layer by layer from the bottom, while also taking into account the control of spatial structure and overall shape. Teacher Zhao Lin's works are known for their use of animals and natural elements, with biological images such as horses and tigers and natural imagery such as fire and water forming his unique creative vocabulary. This concern for nature stems from his own attitude towards life - when he was in Jingdezhen, we often went hiking, fishing, and catching crabs together. He was a close friend who loved nature and was enjoyable.
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In today's AI era, the significance of Zhao Lin's insistence on manual creation is particularly precious. How will clay, as the initial medium of human civilization, develop in the era of technology? Can we continue to provide comfort for the human soul? His works provide insightful answers.
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From a professional perspective, as a teacher in the Sculpture Department of the Central Academy of Fine Arts, I believe that his works have multiple artistic values: the sense of power in the overall shape, the deliberate retention of fingerprint traces, the unique treatment of compressed space, and the subtle and precise line expressions - such as the tightening of eyebrows, breasts, belly buttons, etc. - all demonstrate exquisite shaping language. Sincere congratulations to Teacher Zhao Lin for successfully hosting this important exhibition.
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Artist Mr. Zhao Lin delivered a speech on site
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I firmly believe that art will be the last sanctuary of the human spirit, because art itself is a direct embodiment of the human spirit. Regarding the motivation to persist in creation, I would like to quote Kant's viewpoint: life is like a pendulum, swinging between the pain of unfulfilled desires and the boredom after satisfaction. And whenever I start creating with clay, I always get a whole new challenge and creative pleasure. I admit that I have a tendency to be fond of novelty and dislike the old - completed works are often set aside. People often ask about their most satisfactory work, and my answer is always' next one '.
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Because for me, the creative process itself is the core value, and I have gained full satisfaction in this process. As for the final presentation effect, it is up to everyone to judge. As usual, the gallery expects me to interpret the artwork here. But as a creator, I am more looking forward to hearing the audience's understanding and feelings. The work is already here, and I prefer to remain silent and let the work speak for itself. Thank you again for coming, thank you!
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This phenomenon not only exists in the field of ceramics, but traditional crafts such as lacquer also face the challenge of dialogue with contemporary art. The discomfort that Teacher Zhao Lin expressed when talking about her own works precisely reflects the core problem facing contemporary Chinese art: we have not yet established a complete theoretical system and clear creative context.
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As an art institution, we need to work together with artists to systematically sort out their creative ideas, cultural heritage, and practical skills in clay strip construction, and form more accurate academic expressions. This two-way in-depth dialogue is crucial. The exhibition took one year to prepare. During this period, we took Zhao Lin's works to Taiwan, China, China to participate in the exhibition. The positive feedback from Taiwan, China, China and Japanese collectors confirmed our direction of exhibition planning.
Owls and Humans 2, 32x33x66cm, Pottery, 2021This presentation showcases the most representative creations of the artist in the past three years, each of which is extremely precious. Due to Jingdezhen's unique firing techniques and creative methods, these works not only have a very low success rate, but also become truly unique due to their inability to be replicated. The difficulty and uniqueness of this craftsmanship precisely constitute an important dimension of the value of an artwork. Thank you all for your participation, and we look forward to having a more in-depth exchange with you on the creation of Teacher Zhao Lin.
Mutual Execution, 40x30x72cm, Pottery, 2021
Curator Li Guiming
Opening Ceremony
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