A SOLO SHOW OF THE TAIWANESE MASTER IN MONZA
THE KNOWLEDGE OF WESTERN
ABSTRACT ART EMBRACES THE ARTIST’S
CULTURE AND WORLD
Indecipherable. Mysterious. And undoubtedly fascinating to a culture – ours – that rests upon centuries of revolutions, formal conquests, material investigations and emotional introspections, that have been constantly dogmatized into specific currents.
Taiwanese painter Pahsi Lin strikes at the heart of most of our certainties, for the sake of a path that demands an unconditional mixture of idealized life and everyday routine, of emotional sensitivity and rationality, with a rigour we can easily define “calligraphic”. Art critics have often compared his work to that of the great names of recent Chinese painting, from Zang Daqian and Zhao Wou-Ki to Hsiao Chin; this is especially true, if one thinks of the accuracy of lines in his works, which borders on the rigour of cartography. However, it is in the development of a personal painting style that has all the hallmarks of abstraction that his dialogue with a kind of art we are more familiar with becomes evident. Actually, the artist turns certain expressive-abstract tonal hallucinations – that are typical of the early twentieth century – into well-defined, contemporary visual motifs that are completely foreign to an essentially imitative painting practice. Pahsi Lin pays great attention to the most natural features of abstraction, resorting to the sinuosity of lines, the geometry of conglomerates and even the free use of gold dust – intended as a pictorial element – to conceal the recognizability of objects the current itself pursues.
AMAZING COLOURS AND VIVACIOUS DETAILS
GIVE LIFE TO REFINED WORKS
THAT ARE FULL OF PASSION
Moreover, since he is also a supporter of maximalism, the artist sometimes finely decorates foreground objects (flowers or porcelain), defining the symbols of the social culture he aspires to understand: this aesthetic constant does not rest upon the beauty of objects, but rather on dedication to art and on the craving and passion it arouses in man.
THE SKILLFUL AND POLISHED USE OF
GOLD ALSO STANDS OUT,
TESTIFYING TO AN ANCIENT TRADITION
This is the context in which the “Pahsi Lin. Monologo di Doratura – Infinito” [“Pahsi Lin. A Monologue of Gilding – Infinite”] solo show develops. The exhibition, which will run in the Sale di Rappresentanza Primo Piano Nobile of Villa Reale, in Monza, from June 8 to 23, was organized by BIG Eyes International Vision. The show explores the way in which the artist sacrifices technique for a rationally emotional research through 40 representative works – including paintings and sculptures – in which pictorial gesture and graphic gesture are combined. A sublime conflict between ideal and real, between detailed figurative description and a sensitive use of colour.
MONOLOGO DI DORATURA – INFINITO
Big Eyes International Vision is a leading company in the field of communication and marketing programming between Eastern and Western countries, and it has been encouraging and supporting the encounter between these two cultures for years. In line with the political, economic, and social strategies of the People’s Republic of China for improving trade with Eurasian countries, Big Eyes organizes charity events and exhibitions whose purpose is to put these two cultures in contact, thus strengthening historic connections. Important events include the opera concert of Chinese singer Lv Wei, Culture Ambassador of the year, which took place at Teatro Arcimboldi in Milan in 2011; the “The New Silk Road. The Contemporary Art of Porcelain of Jingdezhen and the Tea Culture” exhibition, which took place in Milan in 2014 (Spazio Oberdan) and in 2015 (Triennale); and a retrospective exhibition of Ho Kan’s works that was housed by Villa Reale in Monza in 2018. The release of the third issue of “AmoMilano” is also not to be missed. This is a paper guide for Chinese tourists who visit the capital of Lombardy and, this year, it focuses on food.
Info: Claudia Pozzi +39 347 7180355 – firstname.lastname@example.org