从历史意识和个体资历出发 黄钢个人展览馆开幕前言 高 岭
“Perception precedes knowledge. If we learn before we perceive, there will not be perception as such.”1
空间的光阴感 Upon Time and Space
Both knowledge and art come into existence after humanity. People always perceive €€€€€€ at least to a certain degree €€ regardless of the questions concerning "who," "where," or "what." It can be done consciously or unconsciously. Throughout history humans have accumulated vast knowledge, and yet there lingers the philosophical enquiry as to whether to learn first or to perceive first. Often what we deem familiar is actually veiled; what we consider unknown has long left its traces in our subconsciousness.
In collaboration with the Je Fine Art Gallery, the Fubon Bank is pleased to present Familiar Scenery, an exhibition that gathers nine influential artists from China: Sun Liang, Huang Yuanqing, Xue Song, Han Shaoguang, Zhao Zhengrong, Sun Yao, Pang Hailong, Luo Wei, and Ke Ming. Belonging to four generations , they have witnessed different eras and contributed in their own way to the development of contemporary Chinese art.
方法法力 The Magic of 阿特
From Historical Consciousness and Personal Experience ---Prologue to the Opening of Huang Gangs Solo Exhibition
1957 Born in Hangzhou
Huang Gang, the leading role of this exhibition, is an artist born in a literary family. He has many years experience of collecting, and is very daring to practice. Enveloped in gray, brown and terracotta, these paintings give out a somewhat irresistible ritualistic power. They are independent while interactive, and together create the grand atmosphere of the exhibition hall. Old artifacts like Buddhist scriptures on printing forme, old cassocks, old leather suitcases and shuttles, and political symbols such as the badge of locomotives, masts and javelinsall of these elements are adopted by him, and become the basic material of his art creation. Either representing some religious power, or acting as the trace of human life or specific historical and political metaphor, they are combined with acryl and zapon lacquer on the paintings or in the space, and magically changed into new images that traverse the melancholy of history and politics and embrace the freedom in art world.
1982 Graduated from the Shanghai Institute of Light Industry, the Fine Arts and Design Department
The images of Huang Gangs works get rid of the barrenness and mystification of conceptualization and ideologism in the abstract art creation in recent years. He combines the abstract idea and spirit with material devices, shapes, colors and space, so that his artworks have reached a highness that spirit and material interacts thoroughly with each other. Although most of the images of his works are existed materials that generate from cultural or religious relics in ancient time or even political symbols in some specific period, they avoid depicting the symbolized social content and illustrative visual content. Undoubtedly, the way Huang Gang treats his objects is retrospective, but his vision is by no means rigid or isolated. His own life experience and art practice tells himself that true art should be the grand images existing in peoples inner world. Its generated from some historical and realistic material imagery elements. An image has its shape and color while the grand image doesnt. However, it doesnt mean void when we talk about shapelessness and colorlessness. The grand image exists on the basis of shape and color.
Sun Liang is one of the first Chinese artists who made an early appearance in the international art world and who participated in important exhibitions such as the Venice Biennale in Italy and Documenta in Kassel, Germany. Sun Liang’s styles are well varied and constantly evolving; since his early exploration of jade carving and traditional Chinese painting , he has experienced different artistic phases, from his experiments in ink to expressionism , from mysticism to abstraction , from the style of “diffusion” to his experiments in materials . His art can transcend generations and has a sense of eternity in it. He only lives in his own world and creates his own art.
物质化的点染 Materialized Painting
Therefore, the scripture bearing the affection and skill of countless monks and craftsmen, the leather suitcases that recording the historical changes of nomadic people, and the badges that filled with the revolutionary enthusiasm of several generations, regenerate their original meaning. They talk to each other on the paintings and in the space, counterplay with their creator Huang Gang, and even involve the viewers. The value of Huang Gang's artwork lies in his way of representation. Based on his personal experience, he found a visualized way to link history and present, and present and future, making us see a new possibility of Chinese contemporary art. The contribution Huang Gang made to the art world is that he aroused the sealed memory of the viewers, and opened the door of the viewers' imagination. History, politics, religion and culture tradition ceaselessly encountered and compared with reality, waxed and waned reciprocally, and made the viewers hard to forget. Gao Ling October 19, 2008
Untitled |Oil on canvas | 80 x 80 cm | 2017
Illusion|Screenprint | 50 x 60 cm | 2016
1963 Born in Shanghai
1985 Graduated from Shanghai University of Science and Technology
1989 Graduated from Shanghai Normal University, the Fine Arts Department
On Huang Gangs Creativity of Abstract Painting Shinyi Yang
Huang Yuanqing is one of the leading figures of Chinese abstract art. His works have been exhibited in the Los Angeles International Biennale, Grosse Kunst Ausstellung in Düsseldorf, Germany, and Chinese Contemporary Art Exhibition in Tokyo. Huang has been active in Hong Kong, Tokyo, and Shanghai, all of which are important artistic centers in East Asia. With an academic background in science and engineering, Huang created artworks balanced by logic and reason. His art also integrates qing with li €€ the former stressed by traditional Chinese art while the latter evident in the Western development of art.
Huang Gangs recent artwork has made him a major/chasing/catchy focus under international spotlight, along with participating in many significant exhibitions and receiving great attention by art collectors in auction. His recent works mainly contain elements like Mandala, Pipal, old luggage case, and star. His works have explored the origin of abstract art, including its ritualization and materialization, as well as developing his own technique and style.
Poem |Handmade paper from Tibet| 19 x 24 cm | 2016
Upon Huang Gangs abstract painting, he has led art from depicting conventional artistic language the color and lines to a stage that emphasizes more on the society and criticism. With Eastern abstract language, Huangs work transcends pure abstract painting and extends its meaning. In fact, he has been working on abstract painting since 2002, and has always considered Zao Wou-Ki as a great master. The way that Zao blends writing skill of Chinese calligraphy into brushwork and the cosmic arrangement on the canvas both consciously or unconsciously affect Huang Gangs creation upon abstract painting. But to me, he presents both more of Chinese and Western styles in his own work. The spatial construction is built to represent Chinese conception on cosmos which he derived from Chinese landscape painting and Eastern aesthetics.
Excerpt from WuDeng Hui Yuan| Xuanpaper |110 x 35 cm | 2015
Huang Gang adopts lacquer, a special transparent material extracted from Chinese lacquer, to combine it with acrylic and then paints over and over. The texture in work is created in a misty, airy atmosphere which provides spatial uncertainty. On the other hand, he would use lots of wet strokes and then repeatedly covers paints on where he has drawn before. Sometimes he would even discard the finished part just to start it all over again. Thus, the space he presents is close to natural observation of Chinese style, instead of Western perspective.
The way that Huang Gang creates space naturally constructs his own painting skill. He prefers to use big brush so that the side tip could express dynamic momentum. In addition, he emphasizes much on power, speed, and direction of brushwork in order to give painting a sense of floating. It is clear that Chinese calligraphy has planted deeply in Huang Gangs mind and has further influenced his creation. In a sense, I think the work tends to be finished through writing rather than painting, and the representation of how he constructs space in painting is indeed extraordinary and profound. To discuss more specifically, the space is projected by the time feeling when audience looks at the painting. Therefore, Huang Gangs work seems to be moving lively and vividly with spirit. Last but not least, it well-presents Taoist cosmic conception that the universe never stops changing or providing energy. And this is why I consider Huang Gangs work manifests more Chineseness than Zao Wou-Kis work.
Looking from another aspect, I think Huang Gangs work also generates some very interesting interaction with Wassily Kandinskys painting. To a master of abstract painting like Kandinsky, the significance of abstract painting does not merely lie on simplifying what we see for images. It is human beings pursuit for spiritual strength that better explains. According to Kandinskys published writings, abstract painting delivers visual energy. And whats more important is that visual energy enables audience to experience a religion-like power. As a result, Kandinskys interpretation helps us to excavate into a deeper level in Huang Gangs creation.
1965 Born in Anhui
It is widely known that the origin of Huang Gangs creation derives from years of learning for Tibetan Buddhist knowledge. Upon material, he selects Tibetan Buddhist scriptures and old luggage case, and then combines them to become painting board. Upon structure, he adopts Mandala, a Buddhist cosmic conception, to form the major image. And through Kandinskys statement, we experiences that religion-like energy for both Huang Gang and Kandinsky regard painting not as a representation about form or vision, but a window for audience to think and meditate. Hence, there are some scholars consider art to be a kind of magic magic that has long existed in human beings materialized environment.
1988 Graduated from Shanghai Theater Academy, Stage Art Department
In recent years, the development of Chinese contemporary art has begun to seek a brand new artistic conception and aesthetics so as to getting rid of the dominant form and image of Western mainstream since 1980s. The phenomenon is caused from the idea that art constantly seeks for changes, and artists never stop pursuing more self-fulfillment for creating. For example, Huang Gangs recent series show out his exploration on new artistic trend. It emphasizes technique and life. Moreover, the combination of Tibetan objects also explains how important these materials are in the meaning of time and spirit. It seems that he tries to lead Chinas current creation onto a more substantial aspect, instead of keeping using mainstreams concept. In other words, the meaning of artwork is not only how a painting looks after creation, but includes the creating process and the selection of material. The essence of painting is closely connected to materials for they possess enormous energy to be released by artists. In fact, what Huang Gang emphasizes the materiality of painting has a very huge difference with what Chinese contemporary artists oppose. Huang Gang graduated from the Department of Environmental Art (the Central Academy of Arts and Design) where he received much more trainings and application on material than oil paint. Therefore, he tends to utilize the ready-made in his artwork. By transforming the meaning of the ready-made, their spiritual energy is able to develop in the way Huang Gang conceives, so that the spirit poses a connection with his art.
Xue Song is one of the most important “Chinese pop” artists. He adventurously explored cross-field collaborations with Salvatore Ferragamo, Johnnie Walker, CasaBella, and Chevrolet €€ its cars featured in the touring exhibition of Andy Warhol. Xue appropriates the Western technique of collage to make art that is unbounded by materials. He deconstructs traditional cultures through the process of burning and reconstructs popular elements through that of collage. His art reconstructs and narrates the chaotic world that has metaphorically experienced “burning.” The hardship that he went through in life has shaped his firm attitude towards both traditional shanshui painting and Western art.
Furthermore, Huang Gangs exploration on religious energy also reflects political circumstances. In his recent star series, he puts red star or portrait of Mao Tse-Tung together with the Buddhist scripture, causing contrast in boldness and moderation, eye-catchy color and mild tone. It is evident that Huang Gang, through visual effect, skillfully presents differences between the two components, but it is more important that he shows their mutuality. The two ideologies are the products representing spirit and belief. The red star is a political symbol commonly seen in socialist society, but it has a more crucial meaning standing for avant-garde thinking. It represents rebellion, revolution, as well as the supreme status of idealism, which happens to meet the same idealism of religion. This is why I believe Huang Gang does not simply go for formalism when he selects political and religious subjects, but explores deeper meaning behind them.
Symbol Series No.8 |Acrylic on canvas、mixed media| 100 x 80 cm | 2004
Among Chinese contemporary artists creating subjects, there are commonly-used political issue, consumerist symbol, as well as Chinese ancient culture. The last one, in particular, provokes unique creativity by overseas artists. Works like Xu Bings printmaking, Cai Guo-Qiangs gunpowder, Huang Yong-Pings adoptation from folklore belief and witchcraft become great examples of this type. Their creation rouses attention from all over the world mainly because they, systematically and artfully, transfer ancient Chinese wisdom into contemporary art form. This new art is presented in both Chinese and global style, ancient and modern look. And it is the kind of diversity, or contradiction, that manifests what their art is. In this way, Huang Gangs work is suitable for placing into this genre, and suitable for defining it in academic research.
New Shanghai |Screenprint | 80 x 105 cm | 2007
In general, Huang Gang expresses Chinese cosmic conception through artwork, realizing intangible spirit and energy through abstract art language. Meanwhile, he tries to search an exclusive feature of contemporary art that belongs to Chinese literati. To analyze Huang Gangs background, he is an artist born in Beijing and he personally also likes to collect artwork, whether contemporary art or antique. The way that he was raised in a family deeply soaked in Chinese culture cultivates him to possess a keen, profound perception toward art. Under such circumstance, it is very natural that being an artist is neither a career, nor a job. To him, it is a life style, an instinct of observing the world, as well as a practice of representing beauty. When traditional Chinese painters stress on the interaction between the nature and human being, Western artists focus on individual concept. Therefore, Huang Gangs painting manages to balance between the two, showing his uniqueness and creativity.
1959 Born in Liaoning
1988 Graduated from Northeast Normal University, Fine Arts Department
2001€€2002 Pursued further studies in oil painting at the Central Academy of Fine Arts in Beijing
In more than two decades, Han Shaoguang has been creating art that travels between the figurative and the abstract, between the “light” and the “shadow” of culture. He does not constrain himself to one style. His works frequently feature motifs of mountain, water, cloud, and people. He experiments with visual languages as a form of verbal language, bringing into play direct “quotations” and implicit “metaphors.” His attitude is one that “misses no past and anticipates no future.” To him, artistic creation follows a path of limited visibility; artists can only create art and life at the same time by going through dialectical enquiries and struggles. Only such creation can contain both warmth and depth.
Cigarette!! |Tobacco leaves, acrylic, and oil | 120 x 90 cm | 2017
They Explain Nothing |Acrylic, brick from theSong dynasty| 41 x 20 x 8 cm | 2014
1971 Born in Shanghai
1998 BFA in oil painting from the China Acadmey of Art
2005 MFA in oil painting from the Central Academy of Fine Arts
Zhao Zhengrong’s works depict the visual forms of cosmopolitan cities . He intends to communicate with such cities through the act of painting. His paintings direct us to our unquestioned viewing habits, and thus can be seen as a reflection on humans’ visual experience. To Zhao, painting is part of the mundane life. Born in Shanghai, having studied in Beijing, and having worked in Guangzhou, Zhao travels between big cities. He is a passenger who does not belong to a specific place; he records the poetics of cities, or, in other words, his own existence.
City No.1 |Oil on canvas | 70 x 160 cm
1974 Born in Shanghai
1998 BFA from the China Academy of Art
2001 MFA from the Shanghai Academy of Fine Arts, Shanghai University
2012 PhD from the China Academy of Art
Sun Yao’s artworks reveal a unique clash between “reality” and “fiction.” In the past decade, Sun has been exploring the relationship between human body and external nature. In terms of formal qualities, his use of daring composition and bold colors both leave a strong impression. Belonging to the generation born in the 1970s, Sun Yao has created works that are more faithful to his own feelings, that are more inquisitive about the chaotic universe, and that are more concerned with connecting the “self” with nature. His art presents a contemporary self-consciousness and records bodily movements.
Hidden Landscape No.1 |Oil on canvas | 120 x 120 cm | 2017
文学艺术，1974 Born in Harbin
1998 Graduated from the Academy of Fine Arts of Harbin Normal University
2000 Graduated from the Academy of Fine Arts of Tsinghua University
Pang Hailong creates artworks using natural objects such as animal bones, which then become carriers of meanings. The natural forms of ox bones and horns gradually disappear while artificial traces increase after repetitive cutting, grinding, and assembling. In his installations, what was natural became artificial; became carriers of violence and clashes. Pang is experimental with materials. From his early series of dust to the series of ox bones, he has been reflecting on reality and existing phenomena through the appearances of material forms. Pang tries to explore the meanings of certain visual appearances both in contemporary society and in history.
Invisible Force No.3 |Ox horn | 58 x 25 x 3 cm | 2017
1977 Born in Wuhan
2002 Graduated from the School of Fine Arts of Central China Normal University
Luo Wei chooses to focus on creatures that are deemed insignificant in life such as frogs, locusts, and mosquitoes, especially larvae of mosquitoes. They constitute a huge part of Luo’s art. His artworks attempt to promote democracy of universal value. They also represent the equality of all sentient beings in Buddhist scriptures. Luo’s art is a dialogue between the ambiguous and the definite, between the abstract and the figurative. It is the result of his artistic struggle and the clash between us and him. Individuals are on the one hand connected with society, and on the other hand independent of it.
Butterfly |Oil on canvas | 150 x 100 cm | 2016
1980 Born in Huangshi, Hubei
2005 Graduated from the Hubei Institute of Fine Arts, the Oil Painting Department
2007 Graduated from the Akademie der Bildenden Künste München
Well trained in German abstract art, Ke Ming has a profound understanding of modern abstract art. He is good at synthesizing external experiences and his own life experience, and integrating the elements into his artworks. His works therefore have both warmth and a sense of attitude. Belonging to the generation born in the 1980s, Ke is interested in social problems and contemporary humanist spirits. Meanwhile, he views nature with awe. He can always acquire certain energy from society and then transform the energy by flexibly employing various artistic media.
Untitled | Mixed media | 50 x 50 cm | 2017
The Fubon Bank aims to go beyond merely providing financial services by developing the concept of "Refined Service." It incorporates aesthetics of life into its philosophy of management, and actively explores the model of cross-field collaborations. A similar belief €€ art originates in life and returns to life €€ is held by the Je Fine Art Gallery. The collaboration between the two, as a result, leads to the presentation of a scenery that transcends both art and life.
1.Shi Tao huayulu [quotations from Shi Tao]
Familiar Scenery€€Fubon Bank Contemporary Art Project
2018.08.18 - 2018.12.30
About Fubon Bank
Memory Crystallography-Six Reports on Our Shared Memory
2018.08.02 - 2018.09.09
杜若云章 | About Us
"Strolling among the old villas and resting in the scent of plane trees," Je Fine Art Space is located in the French Concession right in the heart of Shanghai.As part of Shanghai Haoxiang Culture Communication Co. Ltd. Je Fine Art Space opened in 2014 in cooperation with the Walter Wickiser Gallery .Embracing the belief that 'life is art,' we devote ourselves to establishing a platform for cross-cultural discourse and providing professional art advice andplans.