Cover News Reporter Xu Yuyang
In mid-May, three of Chengdu's latest exhibitions attracted the attention of the Southwest Art Circle. "Convergence into a grand view", "WTO accession", "less into Sichuan? "The three exhibitions at the Guanghui Art Museum are held at the same time, sorting out and presenting the relationship between Chinese art and the development of the times over the past hundred years, focusing on the magnificent history of modern China from the perspective of art, and reflecting the current artistic process.
It has been learned that the extension of the "WTO accession" will end on 10 July. The exhibition will be on view until August 25.
"Convergence into a Grand View" exhibition
What characteristics does Chengdu give to art?
The inner urban fabric is inspiring
The three exhibitions connect the process of modern and contemporary Chinese art in the past century, and at the same time consciously focus on the locality of Southwest art. Focusing on the theme of "Research on the History of Modernity in Chinese Art: Region, Media and Modernity", the three exhibitions were discussed by art historian Lu Peng, writer Jie Chen, art critic Lan Qingwei, curator Hu Hao, and artist Zhu Keran.
Academic discussion site
When asked why he brought such a large number of fine works to Chengdu for the exhibition, Hu Hao, the curator of WTO accession, mentioned that Chengdu is a special city for artists. Tracing the history of modern Chinese art, you will find that Chengdu is indispensable, "I have many artist friends who have settled in Chengdu for a long time, maybe their hometown is not in Chengdu, some are in Shandong, some are in the south, some are in the north, why do they gather in Chengdu?" It must have something to do with the temperament of the city. ”
Writer Jiechen agrees with Hu Hao's view that Chengdu's regional characteristics have indeed brought extraordinary inspiration to artistic creation. Jiechen mentioned that Chengdu's appearance is not much different from many cities in China, but its interior presents a very unique appearance.
The relaxation of the city provides a very comfortable environment for artists, which is very much needed for artistic creation.
"I think Chengdu is indeed not just about spicy hot food or food, but mainly has an inherent urban texture and genes, and the region is very important, which is very closely connected with the whole temperament of contemporary art, and I also hope that the museum will do more discussions on the relationship between the region and artistic creation in the future." Jiechen said.
Research on Art Communities in Southwest China is an important work by critic Lan Qingwei, which reviews the history and current situation of art community research in Southwest China. At the seminar, Lan Qingwei mentioned that Chengdu is an important city for the development of art in southwest China, and many art museums in Chengdu have good hardware and software, especially some distinctive and small art museums with rich collections, which can have direct dialogue and exchange with foreign art museums, which is very important for art research and academic development.
Anhui painter Zhu Keran joined the "Less into Sichuan" with his masterpiece this time? In the exhibition, "Water He Tuan" is painted with the landscape of Sichuan. Many years ago, when I was traveling in western Sichuan, I saw a very fast flow of water, and its momentum was very attractive. Later, I went to Dujiangyan many times, because Dujiangyan has a very strong water culture, and the rivers carry the entire human civilization, including many landscape paintings, which are related to rivers and landscapes, so I am thinking that now, as an artist in the new era, we want to express what modern landscapes are like in my own way. Zhu Keran said that this group of works is the inspiration he obtained in Sichuan, as a group of people who have been more influenced by the northern cultural system, after coming to Sichuan, Zhu Keran got rid of the seriousness of the past, and the atmosphere here made her feel free and comfortable, so she created "Water He Tuan".
Zhu Keran's "Water He Tuan" in the exhibition "Less into Sichuan"
Three exhibitions at the same time
Embark on the exploration of the modernity of Chinese art
The exhibition of "Huicheng Grand View" includes Wu Changshuo, Qi Baishi, Huang Binhong, Xu Beihong, Pan Tianshou, Zhang Daqian, Lin Fengmian, Fu Baoshi, Li Keran, Shi Lu, Wu Guanzhong and other famous artists with the "eleven masters" as the main representatives. Looking at the past 100 years, this exhibition features a total of 90 important works. With the four chapters of "Creation and Transformation of Gods and Landscapes", "Flowers and Trees Becoming Flowers and Birds", "Expressive Portrayal of Big Figures" and "Brushwork and Calligraphy", it presents four characteristics: complete exhibition system, harmonious structure, time and space, smooth narrative, and orderly inheritance of works.
"WTO Accession" focuses on the "WTO accession characteristics" of modern and contemporary Chinese art in the 20th century, explores the historical process of how artists closely connect themselves and their works of art with social reality, and presents the grand scale of Chinese classics and modern and contemporary art works in the 20th century. A total of 69 important works are on display in this exhibition.
The two macro issues of the exhibition are "People with a Capital Letter" and "Art and Society". Based on the concept of history, it focuses on the self-generation, innovation and evolution of Chinese art in the context of the 20th century.
The reporter also saw a number of heavyweight "Internet celebrity" works at the scene, such as Leng Jun's "Little Ginger", which has a tortuous and moving creative process and has been auctioned at a "sky-high price" in the art market; and Meng Luding and Zhang Qun, In the New Age: The Revelation of Adam and Eve. The images of young men and women holding forbidden fruits in their hands and broken frames depict a surreal ideal. In 1985, the painting became famous, and this work is considered to be a representative work of the "85 New Wave of Fine Arts", which started the trend of "rational painting" in the 80s. As a result, Meng Luding is also regarded as a new generation in the 80s who sought artistic freedom, and his idea of "purifying language" at that time had a profound impact on Chinese contemporary art, and also established his status in abstract art.
Leng Jun's "Little Ginger" in the "WTO Accession" Exhibition
"Less into Sichuan? "Group Portraits of the Prosperous Years of Art" takes the works of local artists as samples to study the influence of regional culture on artistic creation, as well as the reflection of artistic creation on regional culture. The exhibition includes easel paintings, videos and installations by 30 artists born in the 70s and 80s, presenting the depth and breadth of artistic creation, as well as diversity and inclusiveness of Mesozoic artists in Sichuan.
Most of these artists have lived and created in the Sichuan-Chongqing region since their youth, and have gradually formed a familiar way of artistic expression, becoming the backbone of local contemporary art. It was this group of local artists of the Mesozoic Era who asked the common question of this proverb.
(Photo according to Guanghui Art Museum)
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