MULTIPLE PAPRE·PAPER PRESENCE 5
Curator：Bao Yu / Li Yujun
2020/10/29-11/01
09:00-17:00
·Adress·
Hangzhou Baimahu International Convention and Exhibition Center
Booth No.: T008
"Paper"
Exhibition Foreword/Peng Feng
From the day it was invented, paper was used as a medium, carrying the other and consuming itself.
Without paper, the preservation and dissemination of words and images would not be so convenient, and mankind would have more illiterate and aesthetically illiterate. Especially in China, where paper was invented, paper also participated in the creation of calligraphy and painting art, almost struggling out of the medium and becoming the form and content of art. As a medium, the meaning of paper is to function, not to show itself. Only when it ceases to function does it have a chance to manifest itself.
However, once it stops functioning, it loses its meaning in paper. This is the fate of paper as a medium: it is either obscured or used badly. This is also the fate of all tools. It is also the fate of man, if man uses himself as a tool. Art allows the tool to resist its fate, allowing it to manifest itself from the veil of function. The works in this exhibition draw us to pay attention to paper, to the presence of paper, not to the function of paper. They allow us to see that once transcended from the functional context of the medium, paper instantly changes from familiar to strange, from ordinary to different.
With the invention and popularization of electronic media, the media function of paper has been replaced, and a revolution about paper has quietly arrived, just as the invention of photography led to the revolution of painting. If after photography replaces the reproduction function of painting, painting either dies or becomes pure art, then we can also say that after electronics replace the media function of paper, paper either dies or becomes pure art. Perhaps we can also reverie: after artificial intelligence replaces human intelligence, people will either die or inhabit the earth artistically.
——March 19, 2016 at Weixiu Garden, Peking University
EXHIBITION WORKS AND RESUMES
Jiang Wanlin Works:
Mirror Landscape II, Φ126cm, Mixed Material, 2020
Comments on works:
Today's art, while overcoming pop and poverty, also digests pop and poverty. In Hegel's terms, "renunciation." Jiang Wanlin's art embodies this "renunciation". Due to her feminine instincts and unique experience at an early age, Wanlin has a soft spot for jeans. She saw the rebellious spirit and poor taste embodied in jeans. However, instead of directly displaying readymades like poor artists, she shaped them into poetic Chinese landscapes. Poverty and poetry, one from the West, one from the East, one in the contemporary, the other in antiquity, they can actually join hands in Wanlin's works. Wanlin's work contains intense conflict and dramatic reconciliation, perhaps a reflection of her inner state and the world around her. I see in Wanlin the artist's most valuable qualities, her work embodies the charm of Gongbi, combines denim materials, and has a contemporary feel.
Jiang Wanlin
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Li Hongbo Works:
Girl wearing a headscarf, Variable Size, Paper Glue, 2014
Girl with high hair, Variable Size, Paper Glue, 2014
Comments on works:
Li Hongbo is famous for his unique interpretation of paper. The form of his remodelling material challenges the audience's expectations for the medium of "paper", which has also become an artistic means. In recent years, his works made of "paper" have not only given the appearance of the appearance of daily objects on the work on the basis of drawing on the traditional Chinese lantern production methods, but also highlight the philosophical connotation of "Irmanence" in the change of the work. The lightweight modelling process is the process of giving volume to light and thin paper. However, the seemingly hard-looking works can be stretched and deformed, from figurative to abstract, and the softness and plasticity of the paper are displayed. The human body cannot be elonged, so human cognition cannot be extended. I want to change my view of these things," Li Hongbo said. While being influenced by folk traditions, these sculptures have also found a sensory and visual language that can withstand the test of time under the light of contemporary art.
Li Hongbo
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Tang Zhengwei Works:
midnight Series, 50x50cmx9, Paper, 2019
Comments on works:
Tang Zhengwei tried to combine paper-cutting with three-dimensional paper art to form a new artistic language. Midnight refers to the time when the idea is completed at midnight. It is immediately recorded at the moment of midnight consciousness and created in the form of paper-cut. From left to right, from top to bottom, in turn: 1. Disscatsment 2. "Sound Shock" 3. Magic Claw 4. Common topics at different levels 5. Sunflower Garden 6. Fishing 7. What is it that accompanies me all my life? 8. Water Light 9. Summoning
Tang Zhengwei
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Wang Tiande Works:
the picture of back mountain MHST 0672, 46x206cm, Rice Paper, Leather Paper, Ink, Flame, 2016
Comments on works:
Wang Tiande gradually unfolds the fragments of the middle layers of Chinese culture and history and time and space. Each layer is built on the foundation of the past, and observes and dialogues with the past. No matter what form of expression contemporary culture adopts, no matter how far it is from the past (calculated by age, perceived from the philosophical level or empirical level), it is inevitably rooted in the past. Wang Tiande's works reflect that calligraphy masters like Liu Gongquan in history can also be related to today's era, and so are the ideas behind their works. The process and thinking behind rubbing and the art form of inventing rubbing can become a source of inspiration for creating new works of art.
Wang Tiande
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Wang Lei Works:
【 Cultural China · Daqing NO.3 】 95x73cm Cihai Paper Threading and Weaving Technology 2018
Art review：Artist Wang Lei's experimental art works, he uses newspapers as the media and ancient weaving skills as the experimental way, presenting an artist's unique thinking. According to the introduction, the basic appearance of Wang Lei's works was born in 2007 and intervened in the way of weaving, from the earliest clothes and hats that were twisted into threads with Vida toilet paper to the compilation of the whole book from a word-free book. Looking back, Wang Lei is weaving time with time and memory with memory, thinking about what is profound and what is shocking in calmness from the delicate complexity.
Wang Lei
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Wang Nanyi Works:
【 What you see is what you want to see -15 】 80cmx100cm liquid alcohol, burned leather paper 2020
【 What you see is what you want to see -25 】 80cmx100cm liquid alcohol, burned leather paper 2020
【 What you see is what you want to see -26 】 80cmx100cm liquid alcohol, burned leather paper 2020
Art review:
In Wang Nanwei's work, it is difficult to define an emotion. It seems that it is neither sad nor happy, neither resentful nor angry; it wanders on the edge of reality, bows its head and passes by indifferently, can't catch up, and is not far away. It is hard to say what kind of experience it has given It is an attempt to be anti-artistic. In the simplest to refined form of expression language in Wang Nan's works, the important thing is not the content of the picture and the amount of information contained, but how much the painter understands and reflects the real world of the painting itself with the help of colour, modelling and material language. The best state of creation is the free state of the blending of technical and spiritual factors of painting, and this state and this state of creative mind cannot be conveyed through simple formal expression.
Wang Nanyi
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Wei Erqiang Works:
【 Fast food era 】 Size changeable, comprehensive material, 2015-2016
Wei Erqiang said: At the beginning, I liked the pulp material because of its simple texture and warm personality, especially its one-time shaping and forming characteristics. What I like is the process of artistic creation, the way and atmosphere of the final presentation of the work. There are new sparks between me and my work at any time. At each stage, I may add new ideas or use new materials and derive new forms. Pulp is a sculpture material that can be shaped at one time. Making pulp sculpture has a process control and experience. From the beginning to the end, all processes must be adjusted at any time through their own experience and feelings. Through the light characteristics of paper fibre material materials, it is different from the traditional sculpture viewing form. This The process records an inner process. From the special emotion of pulp material to the discussion of the relationship between paper and skeleton to present the three-dimensional modelling and spatial relationship, from the most primitive fundamental search, the paper tying technique of folk technology is studied. In addition to the language of the pulp surface, the form of the bamboo skeleton is added, not only the understanding of the material, but also the process technology and The inheritance of transformation has a deeper understanding.
Wei Erqiang
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Xiao Xi Works:
【 Cave garden fishing hidden map in the mustard garden 】 55x120cm Paper 2020
【 Picture of the Qingluan Xiao Temple in the mustard garden 】 60x110cm Paper 2020
【 Xiaoxiang diagram in the mustard garden 】 55x120cm Paper 2020
Art Review:
Xiao Xi's self-statement: My inner persistence makes me insist on using my spare time to create, accumulating nearly 100 pieces. The works are mainly composed of characters. No matter what field of characters or works, they have produced a certain influence at that time and now. They are a symbol of an era and a symbol of history. Xiao Xi is not as great as Cang Jie, but he can think backwards about how words should be converted into images. Text is also a symbol. It is an image or symbol that records ideas, exchanges ideas and carrier language. And I have a special feeling for words.
Xiao Xi
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Zhuang Hongyi Works:
【 B19-F045 】 150x120cm Paper 2019
【 B20-H054 】 90x90cm Paper 2020
【 B20-M15 Series 】 15x15cm · 40 Pieces Paper 2020
【 B20-R20 Series 】 Φ 20cm · 6 Pieces Paper 2020
Art review:
Zhuang Hongyi's works combine Western painting techniques and creative concepts, showing the embrace and return of his hometown, and he expresses his love for flowers in his works, which also makes people derive infinite imagination of romantic scenes. A work can present different colours from different angles. For example, the front looks like a fragrant purple rose, the left looks like a hot and beautiful red flower, and from the right looks like a noble and elegant purple texture. This is a unique patent of Zhuang Hongyi. "My work looks very simple, but it's not simple." Zhuang Hongyi said, "Domestic contemporary art often expresses a kind of culture, some telling stories, some expressing a kind of interest and feelings, and my works try to get rid of culture and pursue pure artistic language."
Zhuang Hongyi
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Zhang Qiushi Works:
【 The Mountain 4 】 122x40cm Paper 2020
【 The Mountain 3 】 81x81cm Paper 2020
Art review:
Since modernism, artistic works have turned to symbolic allegorical expressions, and materials and media have become the carrier of conveying ideas. As a "thing" carrying text symbols and forms, paper media has become an intermediary between the subject and the object, and the transmission mode also continues from informatization to materialisation.
Zhang Qiushi's works start with the materiality, state and information that the rice paper can carry, and use rice paper to express the "mountain stone". The effect of light causes the superimposed rice paper to present the modelling effect of "graying rendering", providing the viewer with another path of visual mode, revealing a new existence and building a new side. Continuity, readability and visibility. This way of reflection and reconstruction is as Clement Greenberg said, "Use the unique method of a discipline to criticise itself - not to subvert it, but to establish it more firmly in its specialised field."
Zhang Qiushi
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Common Art Center, 707-b03 Hongshi Square, No.2 Jiuxianqiao Road, Chaoyang District, Beijing, China
Founded in 2015, Common Art Center is the first contemporary art gallery with a crowdfunding membership system in China. The Common Art Center is jointly initiated by experienced curators, art dealers, collectors and other professionals in the field. It is committed to providing professional collection solutions for contemporary art collectors with a new business model. The gallery takes "paper" as the medium and works of media as its main research and management direction, because of the importance of such works in the Chinese art system and the broad development prospect in the future. Using paper and folk art as the medium, the excellent artists make paper as a tool to resist its fate, allowing it to get rid of the veil of function and reveal its own artistic value.
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