——川音成都美术学院油画系硕士研究生提名展 前 言
Special Invitation Exhibition of Chengdu Biennale 2021 Desire Hoarding
Nomination Exhibition for Master Degree Candidates of Oil Painting Department of Chengdu Academy of Fine art.
“Desire Hoarding ” --- Nomination Exhibition for Master Degree Candidates of Oil Painting Department of Chengdu Academy of Fine art conforms to the "Super Fusion" theme of Chengdu Biennale, taking the creative community of graduate students in Chengdu local art colleges as the main part, it aims to show the new force of local contemporary art through the platform of Chengdu Biennale. Of course, perhaps the more real purpose is to present a real texture and texture of the Young Artists in the Southwest Region.
To portray these young artists is difficult, It seems unfair to simply and crudely assess as "Graduate students of Oil Painting Department of Chengdu Academy of Fine Arts are a creative group with contemporary oil painting language awareness and the will of image". They are separate "individuals" with differentiated cognition of artistic creation, and their mentality, age, and seniority are not all the same. Even though they are trained by the same tutor, the differences between them are obvious. This group does not obey "a certain system." If deliberately looking for a tone of style setting and tendency, I don't see the necessity for this kind of induction either. This stems from the following experience: "Most philosophers in the past tended to be positivistic, that is, to construct a theory, and then to be confirmed by experience. For example, Newtonian mechanics was confirmed because of the discovery of Neptune. Another example, under universal gravitation, Apple must fall downward, since humans started, always. But Karl Popper believes that this statement is wrong. Because you don’t know which day there may be a phenomenon that is inconsistent with this theory. Logically speaking, Induction is limited, and any scientific theory tries to draw a universal conclusion, then this universal conclusion is impossible to be confirmed by induction. Just as infinity cannot be confirmed by finiteness." So how to portray this group of young artists who have entered or are about to enter and leave the Jianghu? Is it impossible at all, or is there a boundary that we have not perceived, which can properly draw a recognizable outline of this group image?
"Desire Hoarding" is a more perceptual title. The poetic leap of words aims to express the value orientation of "painting is a will for self-expression", and determination and determination in attitude, It is the "upward flow" of artistic function mentioned in the philosophy of French contemporary philosopher Gil Deleuze, or the "heterotopia" by Foucault. "Combination" refers to a group state, roughly implying the direction of "joining forces and hoarding, profound accumulation"
To show the students' style and generative development, In addition, there is no more contrived deep logic. The theme of "Desire Hoarding" has a strong "locality", The undisciplined, uninhibited, self-nature, and carefree life form nourished by The matrix of Chengdu City are different from each other, but they are connected. Today's culture and art may need this kind of loose warmth and wandering will. The Cultural Genes of Chengdu Plain do not have the golden sentence contrast of Wang Bo's quotation from "The Preface to the Pavilion of the King of Teng" written in Nanchang; There is also no Tang Cuihao’s "Yellow Crane Tower" written in Wuhan, and the vast life and death of the misty waves; It seems also can’t find the feelings of worrying about the country and the people in Fan Zhongyan’s "The Story of Yueyang Tower" in the Northern Song Dynasty. The vaguely inherited poem "Journey to Songfeng Pavilion" by Su Shi in Meishan, Sichuan， “I used to live in Jiayou Temple in Huizhou. One day, I was walking around Songfeng Pavilion. I felt exhausted and tired. I wanted to rest in the pavilion. But when I saw the eaves of Songfeng Pavilion still far away in the woods, when would I get there? Then I changed my mind and thought again, and suddenly realized: "Why can't I take a rest here?" I understood it all at once, and it was like a baitfish, suddenly liberated. If you can understand this point, even on the battlefield with close combat, the drums are like thunder, and you will die by the enemy's hands when you rush up, and you will die by military methods when you retreat. At this time, you might as well take a good rest.“ Perhaps this is the first "Lie down" event in the history of Chinese culture. The circumstance of Su Shi's life, "Come and take a rest" with Songfeng Pavilion in the in Poetry And today’s popular term "Lie Down" have heterogeneous and isomorphic across time and space, the phenomenon of "Lie Down" involves social issues such as nihilistic attitudes and value shrinkage brought about by social stratification and stratification is an externalized manifestation of the "collective-individual" texture assembled by society in Deleuze's theory, and it is also the "domesticated result of the power structure" defined by Foucault. If the state of "Lie Down" is to be accused of being "stay in a corner", there will be no more than "um...interesting" here. I can't help but ridicule: According to the "multiple positions" and "decentralized" will in postmodern culture, isn't it just the right time for a corner? I can't help but ridicule: According to the "multiple positions" and "decentralized" will in postmodern culture, isn't it just the right time to stay in a corner?
“Desire - Lie down“, "Hoarding - individual" are two very interesting word combinations, The words and words are mutually annotation and layering, forming a kind of "iteration", Just as "a child is in darkness, restrained by fear, comforts himself with a low voice, finds a quiet center, and forms a protective jurisdiction through an iteration." This is to understand the psychological meaning of the mechanism of “Desire - Lie down“ and "Hoarding - individual".
Therefore, we try our best not to rush to portray or define this group of young art creators, they are still in the process of their respective formation and generation, “Desire - Lie down“ and "Hoarding - individual" are one of their characteristics. In addition, they enlarge and spread their power and influence gradually, rippling all the way.
Curator: Wei Yan In Xindu, October 12, 2021
二.展览架构： 学术主持：何多苓 策展人：魏 言 统筹：赵 欢 主办机构： 川音成都美术学院美术研究院 何多苓美术馆 协办单位： 成都D空间 参展艺术家： 由川音成都美术学院油画系提名组成30名年轻艺术家的参展群体。 参展作品种类： 油画、水彩、装置、影像、综合材料、观念摄影 展览统筹：吕 静、王 龙 平面设计：钟 浩 顾问组： 马一平、周思源、何多苓、贺阳、魏言、马杰、王建斌、李昌龙、黄明元、邹琼辉、郭维新、章肇方、刘可 展览时间：2021年10月25日
画册印刷 欲上.合囤——川音成都美术学院油画系硕士研究生提名展画册 画册出品人：川音成都美术学院油画系 画册主编：魏 言
油画系开收研究生从2003年（第一届）至今已经是19届了，大约有200余人在此毕业。 本次研究生提名展由油画系硕导群共同提名和筛选，共有有29位艺术家参展，这里面既有最早一批毕业的研究生，也有2020级在读的研究生。 展出包括油画、水彩、综合材料、雕塑以及影像多个种类，共计92件作品。集中呈现艺术与当下社会碰撞中绽放的多元化的面貌，折射他们目前的创作生态和精神内涵。
何多苓美术馆馆长 赵欢 2021.10.17
The artwork has its individual experience, but also the common memory of society. Express the ideas through different media and thinking about contemporary society.
This exhibition is a systematic art seminar, It’s more of a cultural context combing，and also for the attention of young artists, At the same time, also concerned about the inheritance of Chengdu contemporary art.
He Duoling Art Museum has provided a platform for promoting local young artists for a long time, based on promoting local art and enhancing public cultural aesthetics education, providing the public with opportunities to appreciate art, and exhibiting academic achievements in art research for a long time. To promote local art, enhance public cultural aesthetics education as the basis, provide opportunities for the public to appreciate art, show academic achievements in art research.
The Oil Painting Department of Chengdu Academy of Fine art been founded in 2000. It was personally established by the famous art educator Ma Yiping, Dean. Under the presidency of successive deans: Professor Liu Hong and Professor Liu Yong, gradually, a teaching system integrating basic painting courses, language experiment exploration courses, artistic creation, and art theory courses have been formed. under the leadership of the current department head, Associate Professor Wei Jianxiang, the teaching system has been further deepened and completed. The Department of Oil Painting began to recruit graduate students from 2003 (the first year), it has been 19 years, and about 200 students graduated here.
This postgraduate nomination exhibition is jointly nominated and selected by the master tutor group of the Oil Painting Department. There are a total of 29 artists participating in the exhibition. There are not only the first batch of graduate students but also the 2020 graduate students.
The exhibition includes oil paintings, watercolors, mixed materials, sculptures, and videos, with a total of 92 works. Focusing on the diversified faces blooming in the collision between art and current society, it reflects their current creative ecology and spiritual connotation.
By Zhao Huan, Director of He Duoling Art Museum 2021.10.17
Learning is strength
In May of this year, at the 2021 Graduate Graduation Exhibition of Oil Painting Department of Chengdu Academy of Fine art, I proposed to Wei Yan, the director of the oil painting department, that an exhibition of graduate students of our school could be hold in my museum at an appropriate time. Now, this exhibition has been well planned and will be presenting soon, and it will be included in the Special Invitation Exhibition of Chengdu Biennale 2021. Anyhow, it is a good matter. For the college, the participating artists are recommended by their own instructors, which is a stage summary. For students, being able to gather into an exhibition and enter the Chengdu Biennale sequence is also a glorious record in their art history. For me, I have been doing my best in providing exhibition opportunities for young artists for many years. It is also an honor to be able to launch this time in my museum (joint exhibition with D Space).
In the field of art, the college system has an absolute advantage. In other words, this is a reality that the active artists are basically from various art schools. In this context, this article will talk about the mentorship.
Take me as an example, I graduated from the fine arts class of Chengdu Normal University and the undergraduate and postgraduate classes of the painting department of Sichuan Fine Arts Institute. In terms of qualifications, regarded as a typical academism. There are mixed reviews for this term at the moment. But on this point, there is a situation that may be convincing. Back then, many friends studied painting with me together in their spare time. Now they disappeared from the professional circle, none of them were admitted to the Academy of Fine Arts. Regardless of whether this is a cause, as far as I am concerned, I can go to this day, first of all, thanks to my teachers. For example, Mr. Ma Yiping, my teacher at Sichuan Fine Arts Institute, taught me the concept and method of "Modulation" and has benefited a lot so far. The teachers have trained me and changed me so that my work has the same appearance as it is today, moving forward or back, increase or reduce, sometimes. I don't know if the students participating in this exhibition have the same experience. The indisputable fact is that they have all experienced learning. If they choose to become professional artists, then this learning mode will accompany them throughout their lives.
The reason why "academism" is being questioned, maybe because modern art was born and developed from the rebellion against this. As far as I am concerned, I am not a typical contemporary painter, but I no longer have to work with the style I learned in the academy. I also tell my students that some things should be forgotten after they have learned them —— What I am actually referring to is that certain knowledge has entered muscle memory and there is no need to think about it, but it does not mean that it does not work. For example, the "Modulation" mentioned above is like a composer operating with his hands instead of his brain, and this is the result of years of brain learning.
Let's talk about learning. I watched a video music lecture talked about a song written by Chopin when he was five years old last night. They are all child prodigies. Compared with Mozart, Chopin won the song in terms of maturity. But the speaker pointed out: It's because of context, Mozart was in front, Chopin learned from him, So I want to talk about another aspect perhaps more important of learning, which is to learn from the predecessors.
Discuss with several people in different fields at the Shenzhen International Art Fair not long ago, an architect said that now we are not learning from nature, but learning from our predecessors. Even using our own eyes, we are standing on the shoulders of predecessors. I find that the architecture world is very frank about this, somehow, the art world is a little shy to answer this. That is possible, that the success of contemporary art basically lies in originality. But I want to say that you are too late in your life, and your language has been used up by your predecessors (and even the awakeners among your peers). You can only learn their language first, and then strive to speak better. This is about "quoting".
As mentioned above, the era of the original language is over. Chinese contemporary art started late, and the way to accelerate it is to learn and quote. This is also an objective fact. Behind every successful artist stands a master of the past; Although the art world doesn't talk much about mentorship -- you can always tell who your father is. Of course, I also follow the unspoken rules, tacitly; Then confidently urge the students to learn whoever they like, and to quote any existing symbols they like. Of course, I also follow the unspoken rules, tacitly; Then confidently urge the students to learn whoever they like, and to quote any existing symbols they like. Don't be ashamed of it, but proud of it. It’s important to know that in some areas, the quote is a high-level thing. In ancient times, poets who can't use allusions are embarrassed to say that they are poets. It doesn't matter your painting looks like someone else's painting. First, you were originally a student, the second is as long as it looks like a good thing. In the art category, the knowledge that can be taught orally is limited. Visual art mainly relies on vision. I told students that they must learn how to "look" first. Looking forward and backward, looking left and right, looking at history, looking at the present. Look at the master and look at the amateur painter. Look at the teacher and look at your classmates. Look at the picture album, watch the art exhibition. Other areas of knowledge cannot be ignored yet. I learned a lot from architecture that I cannot learn from the Academy of Fine Arts. Listen to music, I can not imagine that a good painter who doesn't love music. If possible, If possible, have a look at the sheet of music. Musical notes have their visual beauty because they change the world. Those who paint should look more at photography, those who paint oil paintings should look more at Chinese Ink Painting, the contemporary artist should look more at the traditional things. It is not shameful to learn, and it is shameful not to learn. Learn first, think again, learn while growing, learn while losing, in the end, you are yourself.
The world of Chinese traditional painting is very glad to talk about mentorship. To learn from someone is to show off his value. Although I would rather my students are not like me or any painter in history. But we don’t have to avoid pedigree. Because it exists.
He Duoling In the night, 17th October, 2021
Hu Jiaying, Her paintings have gentleness that is unique to female painters, A sense of femininity, Her paintings are quiet and elegant, quite like told the stories leisurely to us. The works of Wen Quan is strictly and firmly, Pursue the interweaving change of color, light, and shape between light and people, therefore find out the direction and way of pursuing and expressing yourself.
—————By Wang Jianbing
···························································································································································· Zhang Hongyu has a relatively prominent ability to control painting, but he is not satisfied with it. In the constant self-examination and questioning of the painting language, to pushing the expression into a state in which the entanglement of language stimulates the highlighting of the structural tension and traces of the picture of contemplation.
Ji Xibing is good at shaping the relationship between pictures with strong emotional resonance shapes and edge lines, moreover, highlighting the feeling of body alienation and the alienation of the psychological.
Gao Mi has a strong sense of physical experience in painting. In painting, she often relies on his intuition to act, there are both childlike impulses and self-feelings and gaze.
Deng Haotian: The expression of graphics is limited, and the process of drawing images is a cinematic phenomenon. The breath expressed in the node of reality and painting has not been concealed. The "trace" left by "non-direct vision" in the movement of time and space is precisely where the artistic expression lies.
Duan Rui: Transformation and collision both are expressions of watercolor, the attitude towards obsessed with this attitude is still pure and arbitrary, even in the deep melancholy, it is also full of spring. It is also touch in the heart at the moment.
Liu Jiao: Aesthetic orientation is an expression of oneself, After establishing her own world outside the frame of watercolor, the re-behavior of intention is the essence of painting.
···························································································································································· Why recommend Wei Shulong? As a 2018 graduate student of the Oil Painting Department of Sichuan Music Academy of Fine Arts, he is very representative and outstanding, during his three-year study in school, he created a large number of oil paintings with his own unique language style. It shall be said that he is relatively excellent in the southwest region and these art colleges, and there is a clear difference. His creation can represent a trend of art education in Southwestern universities and some of our standards, meanwhile, In terms of personal linguistic depth and subject exploration, as well as personal creative methodology and thinking and exploration, they also have a certain degree of maturity.
As a young artist, such a recognition of him,I think it is very worthy of recognition.
Zhang Siyu completed a batch of paper works with a distinctive personality during his postgraduate period, she has a special interest in the microscopic world under medical observation, image narration establishes a metaphor and concealed reference. we also expect her to have a more mature performance in graduation creation as a third-year graduate student.
Zhang Ruixiang has been committed to experimental video creation in the past few years, the alienation narrative about adolescence, Daily life And accidents, and other topics are always shining in his works. Zhang Ruixiang's video works have a kind of "special texture”. Although this kind of "special texture" is still in an unfinished state, the calmness and sharpness of the work is impressive.
Li Zixuan is good at processing the kind of strange images, she can always find her tone quickly as if it were part of her own body: simple, minimal, abstract visual experience, it is full of the author's "self-gaze". Her series of conceptual photography and on-site installations seem to be perceived by us in this dimension.
涂侃: 以废弃物为对象的绘画表达在近年来的艺术创作中时有所延续，而涂侃绘画中却有个人独到的阐释：一是“事实场景”的选择；二是“绘画方式”的选择。“事实场景”中往往是荒诞现实的存留物，如豪宅、舞台、吧台等，自带隐语和秘密，而“绘画方式”却在保持“事实场景”的 基础上进行“语言调侃”。
林广海: 当代媒体因科技的发展迅速地翻新换代，引来了图像时代的个体狂欢，虚拟的事物成为事实一样的存在， 广海在其中发现“事实场景”中的“问题语境”，于是他在综合材料方面的实验精神与关注当代艺术前沿理论的习惯，成为他艺术表达的助力。绘画、综合材料、装置，皆有所获。
···················································································································································· For Ren Junchao: Ren Junchao is a young artist who can travel through paintings, installations, and comprehensive materials, his talent is reflected in the expression of every artistic tendency he touched can get the corresponding artistic tension, this stems from his keen artistic intuition, ability to feel, and ability to transform artistic language. It can be expected, after his comprehensive cultivation reaches a certain height, his artistic potential can explode in certain individual items.
For Tu Kan: The expression of paintings with waste as the object is occasionally seen in recent years of artistic creation. However, there is his own unique interpretation in Tu Kan's paintings: 1. The choice of "Factual scenes", 2. The choice of "Drawing method". "Factual scenes" are often remnants of absurd reality, such as mansions, stages, and bar counters, with lingoes and secrets. On the other hand, the “painting method” doing "Language Teasing" is based on keeping a “factual scene”.
For Tang Guo: After landscape sketching has become a symbol of popular culture in the art world to some extent, conceptualized landscape sketching is taking over the mainstream. In Tang Guo's landscape sketches, there are memories of childhood, also the rush, being sincere and enthusiastic as an adult. Expressed in the language of painting, it has already begun to be calm and unpretentious, simple yet flexible, although traditional, but not lost progressive spirit, coupled with ample artistic enthusiasm, the future can be expected.
For Lin Guanghai: The contemporary media is upgrading iteration due to the rapid development of technology, it has attracted the individual carnival of the Age of Image, virtual things become reality like existence, Guanghai found the "problem context" in the "fact scene", Therefore, his experimental spirit in comprehensive materials and the habit of paying attention to the cutting-edge theories of contemporary art become a boost for his artistic expression. Paintings, comprehensive materials, and installations have all been rewarded.
For Huang Zixuan: The use of new visual experiences of photography in painting has become a daily habit among the new generation of painters. Random cellphone shooting and image processing seem to be more suitable for individual psychological feelings in the new era? As Huang Zixuan said: "I was moved by the blurry feeling of the picture or the messy presentation, this kind of painting experience and the feeling that followed my inner creativity deeply attracted me.”
···························································································································································· Yin Guo has active artistic thinking, strong creative and practical ability. Through continuous exploration of the painting language of comprehensive materials, he formed the "Fur" series of works. His works mostly use discarded sheepskins to construct clothing that represents power, to achieve a strong sense of contrast; At the same time, the use of sheepskin as an art material also highlights the unique ethnic attributes of his works.
He Tiezihong has perseverance and focuses on art, Sharp thinking, and strong creative ability. At the graduate level, continue to explore the boundaries between landscape symbols and virtual images. In the series of works exhibited this time, He deconstructed, reorganized, and transformed the creative materials to realize self-criticism and denial, and at the same time emphasized the presentation of his conceptual consciousness in reality.
···························································································································································· He Qianli: a mixture of fantasy and reality, childhood and maturity, traces of growth in the variability of the times.
Liu Wei: Compared with painting, the walking steps and multi-dimensional space embodied in behaviors and installations seem to be more satisfying for his thinking.
Zhu Keran: She is persistent to the calmness on the surface, but in fact, the inner wildness. Recent works have solidified the force of flow, reappearing the life carrier of water in a structural way.
Zhang Jing: Direct and rude subject matter and presentation, reflecting the author’s straightforward inner world like no one else. It embodies the author’s straightforward inner world like no one else.
Yi Wenbing: Layers upon layers, seemingly abstract, sometimes flashing concretely, brilliant and heavy.
Wu Qirui: The dark picture gradually becomes brighter. The complex and mottled imagery implies a yearning for a better world.
Luo Shipeng: The shape more emphasizes graffiti-like accidents, the color blocks and lines are sometimes separated, appear ethereal in the intricacies.
Xiong Yaoyu: The content of the picture stems from the transformation of magazine images, giving it a strange and absurd sense of alienation, a melancholy lingering melancholy.
···························································································································································· Chen Fenglan's paintings have a rare sense of heaviness, at the same time compatible with women’s romantic lyricism, makes her work more than simply extracting images, it is a comprehensive, complex, and emotional expression, and it is a real painting that can withstand viewing.
For nearly ten years with Li Ming's teachers and students, he has had a keen and unique feeling in his paintings during his postgraduate studies. Until many years after graduation, he can still see his further understanding and understanding of paintings, abstracting space with vibrating colors. Transformation, so that the abstract resides in the concrete. This kind of work is the expression of wholehearted devotion and the expression of tempering of himself thousands of times.