林鉅

1988 「攤」的主持人。攤，台灣第一家本土化酒館
1987 侯孝賢《尼羅河女兒》藝術指導
1985 嘉仁畫廊經理
1959 出生在宜蘭

個展

2001 第五次個展，《無忌宮（二）：月光–佛說入母胎經》，大未來畫廊，台北
1999 第四次個展，《無忌宮之秘義九鏡》，大未來畫廊，台北
1997 第三次個展，《觀音手印：執掌的秘境》，未來畫廊，台北
1995 第二次個展，《視肉》，大未來畫廊，台北
1985 第一次個展，《畫實驗閉關九十天》，關閉於玻璃屋內，作畫90天， 嘉仁畫廊，台北

聯展

1999 《複數元的視野：台灣當代美術1988–1999》，中國美術館，北京，中國
1996 《發現台灣美術的新力量》，臻品畫廊，台中《台灣藝術主體性》，台北市立美術館雙年展，台北「息壤」第四次展覽，大未來畫廊，台北
1991 「息壤」第三次展覽，西區地下室，台北
1988 「息壤」第二次展覽，南區地下室，台北 林鉅與蕭一聯展，永漢畫廊，台北
1986 「息壤」第一次展覽，「息壤」，一個圈外藝術組合，東區空屋，台北
1980 《第四屆雄獅美術新人獎》聯展，春之畫廊，台北

林鉅(一九五九年生)是大未來支持的台灣現代藝術家，其作品以西方文藝復興時期古典的構圖與寫實手法，用超現實的影像，將解崩的肉體，拼接生命的圖像。他長期利用幻象作為創作之本，有時是對記憶的回溯，有時是對不存在過往的窺視。以林鉅如此獨特的藝術表現、商業利益可能不多，但大未來仍支持他的創作，以提升台灣藝術良直的創作環境。

Lin, Ju

1988 Manger of “Twan”, the first native pub of Taiwan
1987 Art director of “Daughter of the Nile”, a film by Ho Hsiao-Hsien
1985 Manager of Jia-ren Gallery, Taipei
1959 Born in Yi-lan, Taiwan

Solo Exhibitions

2001 “The House of Wuchi II: Moonlight”, Lin & Keng Gallery, Taipei
1999 “The Nine Mirrors of the House of Wuchi”, Lin & Keng Gallery, Taipei
1997 The Third solo exhibition, Lin & Keng Gallery, Taipei
1995 The Second solo exhibition, Lin & Keng Gallery, Taipei
1985 The first solo exhibition, “Lin Ju’s Painting Experiment in 90 Days of Self-enclosure,” a marathon painting bout in a glass-walled room, Jia-ren Gallery, Taipei

Group Shows

1999 “Visions of Pluralism: Contemporary Art in Taiwan, 1988-1999” National Art Gallery, Beijing, China
1996 “Discovering the New Power of Taiwanese Art”, Pierre Gallery, Taichung“The Quest for Identity - Sexuality and Power”- Taipei Biennial, Taipei Fine Arts Museum, Taipei“Living Clay 4”, Lin & Keng Gallery, Taipei
1991 “Living Clay 3”, west-side basement, Taipei
1988 “Living Clay 2”, south-side basement, TaipeiCo-exhibition with Shiao-Yi, Yong-Han Gallery, Taipei
1986 “Living Clay 1”, a radical art group, east-side, Taipei
1980 “Hsiung Shih Art Creation Award”- Group exhibition, Chiung Zhe Art Gallery, Taipei


Lin Ju (b. 1959) is a Taiwanese modern artist sponsored by the Lin & Keng Gallery. His works borrow from the classical composition and realistic approach of the Renaissance, yet the employment of surreal images pieces together disembodied figures into an image of life. For a long time now, Lin has used mirage as a primary tool, sometimes probing into memory, while at other times peeking back on an empty past. While Lin Ju's distinctive approach may not lend itself to much commercial possibility, the Lin & Keng Gallery continues to support his work in the effort to raise the quality of the overall creative environment in Taiwan.