It is reported that 798 Author Gallery will hold the 2022 new work exhibition "Huan Qing and Jia Zeng" by artists Wang Huanqing and Wang Jiazeng on April 29, 2022, and the exhibition will last until June 9, 2022. "The recent works of Wang Jiazeng and Wang Huanqing have many similarities. They are all quite experienced in the use of material materials, and then these uniquely revelatory materials have produced a more intelligent understanding in the experience and consciousness of the two people, and let this understanding be directly expressed through a more purified visual discourse; at the same time, this purified visual discourse correspondingly points to a kind of extreme color spectrum, and they all deduce a unique contextual style from the use of black and white, as well as the variation of the relationship between the two colors. This color gamut stylistic orientation, in turn, acts on the practical strategies they adopt for the information of things and things. Quoted from the author gallery founder Ding Haowen teacher.
Scenery in the object
"Precise, transparent forms emerge from the dust, form and then return to the dust." ------- Italo Calvino
The recent works of Wang Jiazeng and Wang Huanqing have many similarities. They are all quite experienced in the use of material materials, and then these uniquely revelatory materials have produced a more intelligent understanding in the experience and consciousness of the two people, and let this understanding be directly expressed through a more purified visual discourse; at the same time, this purified visual discourse correspondingly points to a kind of extreme color spectrum, and they all deduce a unique contextual style from the use of black and white, as well as the variation of the relationship between the two colors. This color gamut stylistic orientation, in turn, acts on the practical strategies they adopt for the information of things and things.
First of all, these works on matter are achieved through the visuality of material loss and reconstruction, so as to verify the potential material characteristics of non-material elements such as time under certain conditions, as well as the specific revelatory process shown by the combination of time and specific matter, and then materialize the non-material experience represented by time/history/memory. For Wang Jiazeng, time is the sense of production that simulates and cultivates the metal paradigm, while for Wang Huanqing, time is the symbolic meaning of building an allegorical device. At the same time, the characteristics of these works on matter necessarily determine their rational presuppositions isolated from pan-intellectualism and pan-technicalism, in other words, it is the complexity of the material clues contained in these works in their speech that prompts us to skip the interference and judgment of intellectual discourse, and thus directly listen to the intensity requirements within the texture of life. In the silent landscape that is open to us, it points both to the reality, weight, inertia and ambiguity of the world, as well as to the inner self-esteem and the integrity of the mind of the individual.
Folds of Wang Jia Zeng 87 120x200cm handmade paper, wood acrylic 2022
From the material point of view, Wang Jiazeng continues to further advance in the pursuit of things, and his practice of reproduction of metal objects goes beyond the conceptual scope of the original thing itself. In Wang Jiazeng's hands, steel was created on two levels. One is steel that faces the world as an absolute being. It plays a direct and practical role as an element of the operating system in the factory and the city, and in the order interpretation of the material production process, it watches the rise and fall of an era with an unavoidable presence perspective. "The world is a mechanism that contains ruthless forces" Therefore, for Wang Jiazeng, no matter what form it takes as the steel in the world, it must have a more solid meaning of existence than any other substance. The other is steel in the conceptual sense. This reproduction not only contains inherent hardness and decay, but also the endless Khotanese bearing under the folds is also the background of its finish. It has both the crowding and tension that reveals its sharp edge outwards, the ambition to fight the air around it fully, the cohesion mechanism of contemplating like water, and the empty and useless that is blinding. In the most recent works on the shelf, the combined operation of canvas, paper and pigment injects a certain alchemical-like behavioral shadow into the painting, and Wang Jiazeng plans the birth of the metal object as both an imitator and a creator, and makes this dual experience correspond to a certain painting history. He not only rescued steel from the old world and deconstructed it, but also made the concept of steel itself an unattainable result, a confusion that steel cannot become steel, metals cannot become metals, and things cannot become things. This re-entry into the identification process resembles what Benjamin called the real thing, "connected to re-identification in a unique way."
Folds of Wang Jia Zeng 23 80x120cm Iron, Aluminum 2019
Thus, steel not only moves away from the usual temporal and spatial systems in the form of an entity, thereby realizing itself more precisely, but also, as an abstract purpose, will measure the units of possibility for achieving a new perspective of "steel" with different strategies. When we look at and understand the "hard" object in front of us from different angles and distances, we have entered the production riddle about this thing, close to the mourning and thinking about this double artificial object.
Wang Huanqing Anonymous 120×151× 3cm Composite on canvas 2019~2022
Wang Huanqing strives to construct his ruin aesthetics on a more nihilistic platform, to construct a symbolic space that is not smooth like a relic. In such a space, what replaces the specific narrative object and becomes the protagonist is the emotions, thoughts and memories left behind by the entity. These recent works have some depressions and protrusions laid by various random solid materials on the surface, but Wang Huanqing did not abuse these factors, and he regarded the proper placement of these materials as the key structure for the final realization of the ruins installation. Thus, these works depict a landscape of memory that does not exist in the physical sense, but affects the real experience, a spiritual place with the intensity of reality. Of course, we can also assume that these spaces are not only his reconstruction of the Molidawa Banner, Daxing'anling, Hengshui, Shijiazhuang and the current Beijing where he lived in the past, but also a kind of grasp of the spiritual enclaves that have survived in the imagination, and may even be the suspicion of the future caused by the inexplicable ups and downs of a sensitive part of the body organ, where it calls for the eternal return of this series of similarities based on the style of these spaces. If we look closely again, the graininess on the canvas surface will make us forget the boundaries of the canvas territory, and let us see that the terrain is just his indulgence in a very limited void.
Wang Huanqing Yi shanhe/bis 200×400×35cm Metal welding coloring 2018-2022
Unlike previous works, Wang Huanqing deliberately erases the centralized existence of the character in these black and white recent works, or from another point of view, he places the character into another type of discourse system, making it a secret structural factor in the visual discourse, where the person is integrated with these architectural/installation elements, and the picture seems to be in the possible process of urgently appearing as a human object. Wang Huanqing reflected on the lightness of white in the pure world of black, and secretly told black to lie dormant in the endless words of white. In the abstract vision of dehumanization, in the overall circumlocution and contrast of black and white, we feel the uncertain moment of fate that Calvino described as "man almost missed becoming a man", a concrete object that needs to be formed urgently, and the discourse layout that "almost missed" is destined to be consumptive imagination. In the end, the hollowing out of information about people is filled with "almost missed" appreciation.
However, we cannot ignore how many exciting parts of these visual outcomes are dominated by pure pictorial logic. It reminds us that these works as objects are thus traceable in their connection to the rich past and the promised future.
The juxtaposition and reflection of the two works once again makes us feel that what they do is only the same thing, that what they live with is only the same fate, and that what they leave behind is only the same kind of scenery: they all move forward in the form of a heavy load, but they taste different light.
2022/04/17
Qian Wenda
Wang Jiazeng
Born in Shenyang, Liaoning Province,
Former teacher at Lu Xun Academy of Fine Arts,
He is currently a professor at the School of Arts, Chinese Min University.
exhibit
2022 "Huan Qing and Jia Zeng", Author Gallery, Beijing
2021 "Dark Fire", Fuyishe Gallery, Shanghai
2020 "The Iron Incident", Today Art Museum, Beijing
2018 "The Folds of Things", White Box Art Museum, Beijing
2018 "The Land of No Name", Chikuchu Art Museum, Beijing
2017 "The Unknown Land", The Peninsula Art Museum, Shanghai
2016 "Traces of the City", China Museum of Industrial Finance, Shenyang
2015 "Wang Jiazeng Exhibition", Yue Art Museum, Beijing
2015 "Traces of the City - Exhibition of Wang Jiazeng's Works", China Finance Museum, Beijing
2014 "Industrial Imprint", Coats Gallery, Taipei
2014 "Industrial Diary - Wang Jiazeng Oil Painting Exhibition", Jinan Art Museum, Jinan
2012 "Wang Jiazeng Exhibition", Aimer Art Museum, Beijing
2012 "Silence in the Hustle and Bustle: Exhibition of Wang Jiazeng's Works", Yue Art Museum, Beijing
2011 "Wang Jiazeng Exhibition of Works on Paper", Yun Gallery, Beijing
2011 "Primary Colors - Wang Jiazeng Oil Painting Exhibition", Today Art Museum, Beijing
2010 "Wang Jiazeng Printmaking Exhibition", Shanghai Dunhuang Art Center, Shanghai
2009 "Existence- Wang Jiazeng Oil Painting Exhibition", Today Art Museum, Beijing
2009 "Wang Jiazeng Paper Works Exhibition", XYZ Gallery, Beijing
2008 "Tribute to Life: Wang Jiazeng Oil Painting Exhibition", No. 800 Art Museum, Shanghai
2008 "Wang Jiazeng Printmaking Exhibition", XYZ Gallery, Beijing
2008 "The Space That Can't Be Let Go: Wang Jiazeng Oil Painting Exhibition", Venoritsa Gallery, Beijing
2008 "The Man in the Box: Wang Jiazeng Oil Painting Exhibition", Highland Gallery, Beijing
2002 "Wang Jiazeng Exhibition", Maritime Mountain Art Exhibition Center, Shanghai
Winning:
China Lu Xun Printmaking Award
Bronze Medal of the 14th China Printmaking Exhibition
Bronze Medal of the 15th China Printmaking Exhibition
Silver Award of the 7th China Third Edition Exhibition
Silver Award of the 8th China Third Edition Exhibition
Silver Medal of the 17th China Printmaking Exhibition
Excellence Award of the 16th China Printmaking Exhibition
Chinese College Printmaking Annual Exhibition Academy Award
Excellence Award of the 19th China Printmaking Exhibition
Public Collections:
More than 60 works have been collected by the British Museum, the Ashmolean Museum of cambridge university, the Düsseldorf Museum, the National Art Museum of China, the Shanghai Art Museum, the Guangdong Museum of Art, the CAFA Art Museum, the Sichuan Academy of Fine Arts Art Museum, the China Print museum, the Today Art Museum, the Zhejiang Art Museum, the Guan Shanyue Art Museum, the Anhui, Sichuan, Guizhou, Qingdao, Liaoning, Heilongjiang and other art museums, as well as the Xuyuan Art Museum.
publication:
"The Folds of Things - Works of Wang Jiazeng", "Chinese Artists Today - Wang Jiazeng", "Wang Jiazeng Works", "Wang Jiazeng Copperplate Engraving Collection", "Reconstruction of Space" and so on
Wang Huanqing
Born in 1958 in Molidawa Banner, Inner Mongolia
He graduated from the Fine Arts Department of Hebei Normal University in 1982
From 1982 to 1986, he worked at the Qunyi Museum in Hengshui District, Hebei Province
From 1987 to 2003, he taught at Hebei Normal University/Hebei Normal University
In 1991, he studied in the Melnikov Oil Painting Seminar of the Oil Painting Department of the Central Academy of Fine Arts and the Sixth Oil Painting Refresher Course
Since 2004, he has been teaching at Beijing Fashion Institute majoring in new media and animation
exhibit
2022 "Huan Qing and Jia Zeng", Author Gallery, Beijing
2019 "Wang Huanqing: Artistic Creation Since the 85Thir Wave", Hive Center for Contemporary Art, Beijing
2018 "Déjà vu: Painting as a Symbolic Art", Hive Center for Contemporary Art, Beijing
2017 "Latent Joy", Kemulang Art Park, Guangzhou
2017 "Art from the Heart", Worry-free Art, Beijing
2016 "Climber", Art Granary, Beijing
2016 "Care", The 3rd Chinese Oil Painting Biennale, National Art Museum of China, Beijing
2014 "Explorations in the New Century", Metropolitan Art Museum, Beijing
2014 "Remoderen", The 3rd Fine Arts Documentary Exhibition, Hubei Art Museum, Wuhan
2014 "1964-2014: Fifty Years of Mutual Understanding between France and China: Contemporary China", Invitational Exhibition of Chinese Artists in Paris, Paris 17th Arrondissement, Paris, France
2011 "Yihe", Ming Wanhe Art Museum, Beijing
2006 "Cold Lips and Dead Teeth: An Outdated Metaphor", Today Art Museum, Beijing
2006 "Today Art Museum Collection Exhibition", Today Art Museum, Beijing
2006 "Exhibition of Contemporary Masterpieces", Shengling Gallery, Shanghai
2005 "Three Eyes", Shengling Gallery, Shanghai
2001 "People's Avenue and Revolution Road", 20th Century Chinese Oil Painting Exhibition
2001 "My Wife", China Small Oil Painting Exhibition
1997 "Mr. Fei Zheng", Centennial Exhibition of Chinese Oil Painting Portraits in the 20th Century
1995 "Renmin Avenue and Revolution Road", Chinese Oil Painting Exhibition
1995 "Nineteen O'Clock in the West", The 3rd China Sports Art Exhibition (Third Prize)
1994 "Vertigo Experience", New Zhulian Cup Chinese Oil Painting Exhibition (Excellence Award)
1993 "Flattery of Music", The 2nd China Oil Painting Exhibition
1990 "The Realm of Tai Chi", the 2nd China Sports Art Exhibition
1988 "Total Eclipse of the Sun", The First Chinese Oil Painting Exhibition
1987 "1935 • Turnaround Exercise", National Art Exhibition for the 60th Anniversary of the Founding of the Army (Excellent Work Award)
1986 "Rice Sheep Studio Rural Experimental Exhibition", Shijiazhuang
1985 "May Red Apricot", a Chinese youth art exhibition in progress
Author Gallery AuthorGallery
Author Gallery AuditorGallery was founded in 2014 and now has an area of 420 square meters and an exhibition line of 100+ meters. So far, he has held more than 80 exhibitions and participated in 6 art fairs. There are seven signed artists and more than 30 co-artists.
Adhering to the "high standard, new concept" has a long-term good interactive relationship with many important art institutions in Asia, and firmly believes in taking a high-quality contemporary art business philosophy route. Seriously and rigorously adhere to the concept and quality of artworks, calmly collect and promote the development of contemporary art.
Through exhibitions and displays, author gallery connects outstanding Chinese contemporary artists and collectors and enthusiasts at home and abroad who love Chinese contemporary art collections, and is committed to systematically collecting, sorting out and standardizing the works of Chinese contemporary artists, and discovering and promoting outstanding young and middle-aged artists.
"The author is holy, and the narrator is clear." Both rational and passionate, part of the interpretation of perfectionism. Art comes from feelings, and the work belongs to the author.