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    <lastmod>2026-01-15</lastmod>
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      <image:caption>size: 24cm, material : porcelain , photo: Aliona Pazdniakova</image:caption>
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      <image:title>Projects/works - Rhapsody</image:title>
      <image:caption>year of making: 2019, size: 16 m x 4m, material: cobalt blue porcelain</image:caption>
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      <image:caption>Photo: Nordenfjeldske Kunstindustrimuseum</image:caption>
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      <image:title>Projects/works - Skakke folkedrakter: Lin Wang</image:title>
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    <loc>https://linwangart.com/i-have-got-your-blue-eyes</loc>
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    <priority>0.75</priority>
    <lastmod>2017-11-22</lastmod>
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      <image:title>I Have Got Your Blue Eyes</image:title>
      <image:caption>Interactive installation  material: porcelain, micro camera size:65cm x 45cm year of making:2017  </image:caption>
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      <image:title>I Have Got Your Blue Eyes</image:title>
      <image:caption>Interactive installation  material: porcelain, micro camera size:65cm x 45cm year of making:2017  </image:caption>
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      <image:title>I Have Got Your Blue Eyes</image:title>
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      <image:title>I Have Got Your Blue Eyes</image:title>
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    <loc>https://linwangart.com/news-and-posters</loc>
    <changefreq>daily</changefreq>
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    <lastmod>2026-01-15</lastmod>
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      <image:title>News and Posters - TRUE BLUE Press release</image:title>
      <image:caption>The summer exhibition Nordenfjeldske Kunstindustrimuseum, the national museum of decorative arts and design presents the blue and white ceramics, from both China and Japan, along with objects from Europe. The blue decor on white goods has fascinated people for hundreds of years. The blue-white porcelain was developed in China and reached its peak during the Ming Dynasty became an export adventure without equal. Merchant ships filled with the white gold occupied European ports and initiated a porcelain fever in the courts of the European rulers. The blue and white goods were eventually produced in huge quantities, and the exclusive got their cheap and mass-produced copies, which spread to most homes. The exhibition presents both Chinese porcelain, Dutch earthenware, Norwegian straw pattern from Porsgrund porselæn and Herrebøe earthenware. In recent decades, the blue-white ceramics has regained interest. Designers and craftsmen create new stories with interpretation of familiar patterns or as soft-spoken political artwork. In the exhibition you will find works from among others; Paul Scott (England), Front Design (Sweden), Marcel Wanders (Netherlands), Anna Badur (Germany), Kim Joon (Korea) and Lin Wang (Norway / China) The museum's ceramics collection consists largely of blue-white, and only a small percentage is displayed in the permanent exhibitions. In True Blue, the audiences get to know a larger part of the collection of traditional blue-white along with interpretations from today's practitioners. The Exhibition is open from 16.6 -4.9</image:caption>
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      <image:title>News and Posters - Exotic Dreams and Poetic Misunderstandings</image:title>
      <image:caption>Lin Wang’s Exhibition   3 March – 27 April 2017 Opening: Friday 3 March 2017, 7 pm   SiC! Gallery, Wrocław 9/10 Kościuszki Square     Sofia Coppola’s cult movie Lost in Translation shows subtly and implicitly two Americans stranded across the ocean, in Tokyo. Their contact with the culture of the East is often accompanied by a sense of alienation, loneliness, comicality bordering on absurdity, and above all the awkwardness which usually appears when cultures clash, between the lines. Lin Wang is a Chinese visual artist working in porcelain, living in Norway for the past three years. Her life experience, relationships with the surroundings and participation in the social life of both countries have committed her to reflecting on differences and similarities between the two distinct cultures, as well as attempting to find in her creative work a bridge between the West and East. Growing up in China and raised on stories from the Scandinavian mythology told by her grandfather, Lin has been dreaming the exotic dreams of the Occident since early childhood. Studying the Old Continent’s history, she realised to what degree the production, export and trade of Chinese porcelain at its commercial peak, i.e. in the 17th century, influenced the mutual understanding of both cultures. It was then that the artist coined the phrase “poetic misunderstandings”, attempting to examine and juxtapose the interplay of colourful images, traditions and histories of the two distant realities. In time, the term has become rooted in her work to mean a universal cognitive process of studying dissimilarity.    Currently based in Bergen, the artist often comes back to China, where she works in close co-operation with the local porcelain masters. Exotic Dreams and Poetic Misunderstandings vol. 2 is a continuation of the artist’s quest. The exhibition was prepared specially for the purposes of the SiC! Gallery in Jingdezhen, the porcelain art and manufacturing mecca, where in the 17th century importers from Europe brought sketches and forms of tableware. The commissioned replicas of European utensils were often completely alien to Chinese ideas. Europeans would also order the traditional, famous cobalt blue images on chinaware, except the commissioned scenes were connected with domestic traditions and history. Done meticulously and with utmost care, they often became comical, distorted (the Chinese did not use perspective) representations of biblical and mythological scenes. Paradoxically though, in the eyes of the buyer, such objects were a fulfilment of exotic, romantic dreams of the Orient.    Contrary to artists of the past, Lin plays with the convention – she mixes the Chinese tradition of the cobalt blue imagery with Norway’s strongly rooted tradition of sailors’ tattoos. In Bergen, everybody is indirectly or directly connected with the sea and sailing. For me, nautical tattoos have become a medium through which I imagine life at sea, says the artist. Back in the times when sea trade was not industrialised yet, working at sea required both physical and mental strength from the sailors. Visions of the ocean as an intercultural transit route were invariably connected with idealising the unknown. The exciting dreams of unexplored, unconquered lands were visualised by means of a needle and ink. In the brave, harsh but romantic world of sailors, the tattoo is a record of adventure, experience and dream, a prophecy, a charm, a memory of sexual initiation. Its allegorical value, simplicity, linearity and the blue colour of ink, all resemble the style of the Chinese imagery. Poetic misunderstandings appear between the finesse of the Chinese porcelain and the straightforward brutality of the seamen’s tattoos, between the scale forms of European tableware and the Chinese genre scenes. Just as in Miss Hong Kong, a work in which Lin swaps female archetypes. In place of the traditional Chinese figure, a petite woman depicted with half-closed eyes and in a subservient bow, she tattoos on porcelain an erotically bent pin-up girl from a sailor’s dream, towering over the male character. In this way, she contests the Chinese canon of representing gender. The ambiguous East/West and tradition/contemporaneity relationships created by the artist bravely enter the field of visual kitsch and naivety. They engage in a witty, free dialogue about history, religion, tradition, social preferences and exotic dreams. There is no aggression or fear in them. They are records of dissimilarity and diversity. Of what cannot be told. Sometimes it is lost in translation; sometimes it is read between the lines.   A performance/feast will be held during the opening For me, inviting people to dinner is the simplest and most pleasant form of establishing social contact. Thanks to conversation, we gain perspective, which allows us to go beyond our cultural epistemologies, says Lin Wang.   Curator: Dominika Drozdowska</image:caption>
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      <image:caption>A museum collection's 125th anniversary “The Bone” is now on view in Nordenfjeldske Kunstindustrimuseums anniversary exhibition "125 objects, choices, stories", where 125 items for the museum’s collection has been picked out by 125 people from outside the museum. My work was chosen by the new theatre director of Trøndelag Theatre, Elisabeth Egseth Hansen. The exhibition will be shown from the 26th of April until the 28th of August 2018. “In 2018 we are celebrating the 125th jubilee of the Museum of Decorative Arts and Design in Trondheim with a quasquicentennial exhibition named “125 objects, choices, stories”. The exhibition shows the museum’s collection in a new and perhaps surprising manner, since the objects on display are not chosen by the museum staff, but by 125 people outside the institution. We have invited physicians, immigrants, children, carpenters, students, musicians, politicians and artists to pick their personal favorite from the collection. These 125 choices not only represent the things in themselves, but 125 new pairs of eyes and 125 new stories about the collection’s place in society. Through these contributions, we gain an insight into what the objects do to people. A catalogue with texts, written by the 125 co-curators, will accompany the exhibition. These texts deal with art and the culture of objects, but just as much about people. The texts are generous and humorous, deep and sparkling. All the new stories meditate over the endless potentials of the collection. Thanks to the selected objects, we also get to see what the public is interested in, and the type of exhibitions we should be planning for the next 125 years. “ The exhibition will be shown from the 26th of April until the 28th of August 2018.</image:caption>
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      <image:title>News and Posters - Årsutstillingen 2018</image:title>
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      <image:title>News and Posters</image:title>
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      <image:title>News and Posters</image:title>
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      <image:title>News and Posters - Rhapsody &amp; Still Life - Solo Exhibition at Vigeland Museum</image:title>
      <image:caption>October 11, 2019 - January 19, 2020</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58fdd0a01e5b6c4ffcca649c/1633546869143-CJQP9KMG0RNU4DQ7XLKY/image-asset.jpeg</image:loc>
      <image:title>News and Posters - Made in Ringebu - Group show at Center for ceramic art</image:title>
      <image:caption>12 June to 12 September 2021</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58fdd0a01e5b6c4ffcca649c/1633547283422-HPRFZRYTQKE9UWTZVTZW/image-asset.jpeg</image:loc>
      <image:title>News and Posters - Høstutstillingen 2021, Performance at Kunstnernes Hus</image:title>
      <image:caption>Lørdag 18. september</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58fdd0a01e5b6c4ffcca649c/1633547668974-ZVB5T0QGKQ2OM5YIXG3Y/image-asset.png</image:loc>
      <image:title>News and Posters - SAND I MASKINERIET — NASJONALMUSEET PÅ TEKNISK MUSEUM, Performance at Teknisk Museum</image:title>
      <image:caption>30 September to 24 April 2022</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58fdd0a01e5b6c4ffcca649c/1633547998792-2FQAJQ6Y9WHMHMCXIA1E/image-asset.jpeg</image:loc>
      <image:title>News and Posters - As far as my Eyes can Sea – The Expedition Exhibition, Group show at Bomuldsfabriken Kunsthall</image:title>
      <image:caption>19. June - 26. Sep 2021</image:caption>
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      <image:title>News and Posters - Featured in Financial Times</image:title>
      <image:caption>March 2021</image:caption>
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      <image:title>News and Posters - Cover of SeKunstMagasin</image:title>
      <image:caption>March 2019</image:caption>
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