Exhibition news
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Exhibition site
On the afternoon of September 26th, "As You Can See - Lin Fengting, Wang Changgan, Wu Te, Xie Tianzhuo, Xu Weibo Exhibition" was exhibited at Shangrong Art Museum. Curator Xie Yuanqing said that this exhibition invites five artists with almost completely different faces and concerns, in order to form a complete judgment of the relative multidimensionality of current art and reality through the interpretation of their works. As contemporaries of their age, they all work in the field of figurative art, and their discoveries and creativity undoubtedly give us a lot of pleasure and touch. As they see, they lead us to think, and the essence of what they see and think is ultimately to convey what they want. From desire to willpower, the mission of art in the present moment has been fulfilled. The exhibition will run until November 29.
The opening scene of the exhibition
Thank you
"Collage" objects respond to the absurdity of the times
Xie Tianzhuo, a young artist from Sichuan, is good at "collage" objects and "moving" scenes in a montage technique to compose the picture. He is very good at mastering the grand and broken scenes, skillfully using various image symbols and cultural vocabulary to create a strange visual space with distinct personal characteristics. After the original images that did not belong to the same place were forced together, the meaning of the text and meaning were seen, and metaphors abounded. Like the vivid words of a novelist who is good at description, every object he places in the picture is not a dead thing, and each one has its own lines and can express its meaning. As he himself said, "These things have their own references before I paint them, and what they do is how to make other objects relate to it, how to disrupt its own meaning direction through the reset of the picture, and reconstruct the narrative." Like a naughty child, he scrambled and scattered the original boxes of unrelated puzzles and re-spelled out a grotesque picture, and as the maker of this "lost world", he laid out "wandering" in it, the painting language became more and more comfortable, and the problems referred to in the work became deeper and broader.
Living in Sichuan as a child, being familiar with the landforms of mountain cities, and experiencing the great changes and oscillations over the years, such as the Three Gorges Migration and the Wenchuan Earthquake, are the perceptual basis and direct motivation for Xie Tianzhuo to create these works, and the current political, cultural and life-wide turbulence, fragmentation and dislocation are the ultimate references to his creation and "narrative". The absurdity of this era is a kind of reality, fragmentation is a kind of reality, and floating chaos is also a kind of reality, so using magical and absurd pictures to respond to the magic and absurdity of this era is a certain degree of "documentary", in this regard, Xie Tianzhuo is young but quite "old".
Xie Tianzhuo, "Guan Gong", 46×60cm, color on paper, 2020
Works on the spot of the exhibition
Wang Changgan
Use the "mirror of history" to see the world
Wang Changgan and Xie Tianzhuo are quite similar in that they both use a relaxed and slightly humorous style to talk about the original heavy topics, the difference is that Xie Tianzhuo's works speak in the face of reality, while Wang Changgan's works speak in the face of politics, and can especially see the big in the small.
Wang Changgan named his series "The Mirror of History" series for his works describing important events that occurred in the present, a title that reflects the depth of his observations and reflections. Isn't the present and the future, reality and history always being progressively transformed? Wang Changgan seems to be standing in front of a small hole, through which he watches human politics stage a scene of positive drama and farce like a marquee, drawing it with great interest, and at the same time skillfully translating political words into visual language. Each "round hole" picture corresponds to a political event or a focus topic: in "Water Shortage", the supermarket shopping cart is not filled with bottled water, but the huge waves in front of Mt. Fuji in Katsushika Hokusai ukiyo-e works are solidified and pasted, which is amazing; in "MH370", the white plane is in the endless darkness above the sea, and the eerie and heavy atmosphere is very consistent with the psychological feelings caused by the situation at that time. In "CCTV", there is only one microphone left in the TV picture, and it has been submerged in a vast ocean, and there is also a vast ocean outside the TV, which makes people think of it; the "Diaoyu Islands" are like a delicious cake; China's first self-produced "aircraft carrier" tests the waters and discusses chicken feathers; the unusually long proportion of "genetically modified" corn is impressively displayed on the small plate...
Historically, the artist community has paid not too much attention to political realities but too little. These events are influencing the future and constructing history with a force that we cannot measure, and artists are always silent, but Wang Changgan unexpectedly finds such an expression, which skillfully introduces these political events into art and presents themselves without putting themselves in the danger of over-talking, "point to the end", stop at "discovery" - the rest is left to the audience to think and ponder, and there is indeed an artistic wisdom in it.
Wang Changgan, "The Mirror of History: XII, One Dream", Ø 36cm, Lithograph, 2015
Wang Changgan, "The Mirror of History, Eight Water Shortages", Ø 36cm, Lithograph, 2014
Xu Weibo
An artistic interpretation of fire,"Watching Fire from Across the Shore"
Xu Weibo's "Fire" series of ink paintings shows different discoveries and reflections. The two images of fire and flames seem to be related to the current forest fires (Australia, the United States, etc.) and the surface of unrest and arson around the world, but they are not the original intention and source of Xu Weibo's creation. He originally wanted to advance his artistic practice through the discovery and grasp (or capture and control) of this invisible but powerful phenomenon and form in the artistic language, but it coincided with our current psychological picture. Fire is a thing of destruction, but also a light of hope, a collection of danger and beauty, showing both the power of nature and the process of human civilization, and solemnly putting it on the picture cannot but arouse our subjective reverie, especially when his expression is unique and effective and eye-catching.
Among the young artists in Guangdong, Xu Weibo's clear contemporary ink painting attitude and unique material production and many traditional ink creators have opened up a significant gap, his works are quite characteristic in terms of the presentation of ideas, the control of form, the use of language and materials, the use of water, ink, color, gold leaf, silver foil is clever and in place, the sense of proportion is very good, its good visual presentation even makes people forget the experimental attitude behind the work, and the experimental spirit and visual presentation are a pair of parallel lines in Xu Weibo's artistic thinking. In front of Xu Weibo's paintings, we seem to have gained a new understanding of the imagery, power and allegory of fire, opening up a new visual and cognitive dimension that is not only related to the reality of the times, but also contains artistic aesthetics.
Xu Weibo, "Human Fireworks", 98×103cm, Ink Gold Leaf on Silk, 2019
Wu Te
The "Man + Animal" sculpture has a distinctly metaphorical character
Wu Te's creation is more concerned about his own survival situation and returns to self-examination. His "Human + Animal" sculptures are impressive among many young Chinese contemporary sculptors for their unique appearance and inner expression of emotion. Obviously, his creations are more concerned with his own situation. He has a sincere affection for animals that stems from the companionship of childhood, and the people and animals in the works have a real and deep relationship, which can be described by the term "love and sincerity". In terms of the presentation of the works and the use of materials, these "human + animal" sculptures are quite colorful and rare, the combination of figures and animals is often unexpected, and the value of surface fur is novel and unique, and the effect is bright and fresh.
As far as the level of his ideas is concerned, it has been summarized that "his works have obvious metaphors, embodying the most sincere psychological feelings of young individuals at present, seeking a spiritual world of peace and freedom in vigilance", "revealing his wrapping of self and a sense of distance from reality", this feeling is believed to be widely representative of today's young generation, under the rapid change of the times, the living individual is becoming more and more dazed, the spiritual vacuum is becoming more and more serious, Wu Te combines people and animals, It is the psychological dilemma and emotional dependence of the current young generation that are explored, seeking the settlement of the mind under self-observation.
Wu Te, "Dream Memories and First Awakening", 70×70×30cm, solid wood, animal hair, hand-painted, 2020
Wu Te, "Boundary", 50×50×80cm, General Materials, 2020
Lin Fengting
Not gorgeous but full of spirits
Lin Fengting's works on paper and oil paintings have a unique charm exuded by individual artists, which is fascinating. She shielded herself from a lot of external noise and distractions, and created a world in which there was only black and white gray and a little bit of bright color, and a group of people together interpreted the story of what seemed to be the same person. Just as the curtain is suddenly lifted, the people in the painting are exposed to light and shadow and our line of sight, and they are momentarily fixed, and if the curtain is lowered, maybe they continue to dance...
Excluding this literary reverie of the viewing process and evaluating from the art work itself, Lin Fengting's work reveals an independent atmosphere, it is not gorgeous but also has a visual and spiritual richness, the composition of the picture characters is free and skillful, but the shape is clumsy but not coarse. In terms of painting style, we can see the similar atmosphere of the Italian ultra-avant-garde school such as Sandro Chia, Enzo Kucci, especially Miro Palladino, etc., and the ultra-avant-garde school advocates the view of "returning to painting and seeking direct contact with the audience in new energy and passion", which is also appropriate to judge Lin Fengting's work, the difference is that her work has a sensitivity and emotion derived from the female intuition, which reminds us of Marlene Dumas, and the obvious difference between Lin Fengting and her is the youthful atmosphere that still contains in the silence , as well as to use clumsy expressions. All in all, Lin Fengting's works show us the attitude and control of an artist in the relationship between the outside world and the self, and its problems seem to be small in space, but its individual attitude and character are quite moving.
Lin Fengting, "Idle Look", 79×109cm, acrylic on paper, 2015
As you can see - Lin Fengting, Wang Changgan, Wu Te, Xie Tianzhuo, Xu Weibo's works exhibition
Curator:
Xie Yuanqing
Artist:
Lin Fengting, Wang Changgan, Wu Te, Xie Tianzhuo, Xu Weibo
Exhibition Period:
2020/09/26-2020/11/29
Organizer:
Shang Rong Fine Arts
Address:
Tianhe District, Guangzhou City, Member Village Cheng Jie West Datian Ji Nan No. 10
(200 meters south of the intersection of Erheng Road and Linjiang Avenue in Yuancun)
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Edited today by Riki