No.223, Spring Light, 2009, inkjet print, 19” × 13”. Courtesy of the artist.

No.223, Hao, 2018, inkjet print, 19” × 13”. Courtesy of the artist.

No.223, Girl on the Sanmen Island, 2006, inkjet print, 39” × 26”. Courtesy of the artist.

No.223, Riding at night, 2009, inkjet print, 39” × 26”. Courtesy of the artist.

No.223, Love in any angle, 2018, inkjet print, 19” × 13”. Courtesy of the artist.

No.223, Spring Light, 2009, inkjet print, 19” × 13”. Courtesy of the artist.

No.223, Hao, 2018, inkjet print, 19” × 13”. Courtesy of the artist.

No.223, Girl on the Sanmen Island, 2006, inkjet print, 39” × 26”. Courtesy of the artist.

No.223, Riding at night, 2009, inkjet print, 39” × 26”. Courtesy of the artist.

No.223, Love in any angle, 2018, inkjet print, 19” × 13”. Courtesy of the artist.

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Lin Zhipeng

Lin Zhipeng (aka No.223) Born in Guangdong, China in 1979, who is a photographer and freelancer writer based in Beijing. Presented for ten years in group exhibitions in China and abroad, Lin’s works have also been the object of several solo shows both nationally and internationally (Walther Collection Ulm ; De Sarthe Gallery Beijing ; Stieglitz19 Gallery Antwerp ; M97 Gallery Shanghai; Delaware Contemporary Museum, etc). He has published photography books in Taiwan, France, Canada and Japan.

Lin is a leading figure of new Chinese photography emerging in the last decade, popularizing his work originally via social media and other online platforms as well as his self-published zines. Lin’s work has come to reflect and define a certain zeitgeist of the post-80’s and 90’s generation of non-mainstream Chinese youth. Amidst an otherwise conservative and often closed traditional society and cultural background, Lin’s photographs act as a collective not-so-private diary of a young generation wishing to escape the pressures from a high-stakes society and play within its limits. 223’s works are saturated with a soft sense of carefreeness, a playful innocence, and a certain optimism amidst a hedonist lifestyle going against the expected pleasures and entrapments of the middle class dream.

Naming himself “No. 223” after the police character in Wong Kar-Wai’s movie Chungking Express, Lin also adopts a sense of the Hong Kong director’s poetic and dreamy atmosphere as well as the loneliness and mystery of many of his film’s characters. Lin Zhipeng offers his point of view on an alternative youth spirit and culture in an often conservatively Chinese cultural context. http://linzhipeng223.com/

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