New trends in Chinese art scene

 New trends in Chinese art scene: The Sui Jianguo solo started. that This social concern and a capital injection in the next two years if continued, will certainly continue to promote the idea of the artist's efforts to achieve the exhibition.
So, from a practical point of view to discuss , you have to involve the Chinese contemporary art border and frontier. In fact, the Chinese contemporary art is art practitioners virtual one's own limits, with dating and the geological features. In fact, the Chinese contemporary art and international contemporary art is difficult fragmented. Chinese contemporary art is very much to solve the problem. it has a local problem, but also international. which many European and American contemporary art does not solve the problem, try again to face the Chinese artists to address, is also reasonable . So, from the artists experience, many Chinese artists is in fact a personal level, rather than look at the issue on a collective level. This individual artistic vision in fact, international experience in this respect. In short, many artists have not in a Restricting the level of the so-called Chinese art came about a problem.
So, from now on Sui Jianguo point of view, in fact, these artists stood on the cutting edge of contemporary art as a top. Of course, the problems they have to be very specific, cutting-edge issues in Chinese art is only one China in the context of a number of cutting-edge contemporary art issues, nothing more than to say, it can discuss some language problems; will also discuss some of the more popular international cultural issues, including the creation at the level of methodology, values, etc.; and will also discuss some basic issues of art, such as space, the bottom line and watch system problems; course, there are China, in discussing issues such as the Chinese identity, geopolitical, ideological and exotic problems and so on. But these artists in an international perspective is to look at the issue of Chinese art interface. such as Gu Dexin, he held the Chinese context is bite and hold, to spare no effort, but his position is often a sense of universal human nature position. Well, art scene, China is indeed the practice of artists of contemporary art practice throughout the world a very important part. particularly In recent years, the international community is faced with the special experience of Chinese art to grow, not only unavoidable, it is difficult to avoid. This is a very good contemporary art of accumulation. because the Chinese art of cutting-edge issues facing the problem of global It is man's own problems. So these Chinese artists in recent years, experimental works, including works of Sui Jianguo some very essence of contemporary art issues.
in several ways, I am break the box border. white box emphasizes the initialization, formatting the space requirements, that is, as far as possible the characteristics of spatial factors and their reduction to zero tension, in order to show the status given to independent work. Sui Jianguo dialogue box this model, is to break down, deconstruction. the audience into Let the audience feel is not a visual spectacle, but a live atmosphere and the atmosphere everywhere, all-encompassing control. before the general discussion within the art system that works in the field of aesthetics and space healthy relationship, this Field does not exist. then pursued the so-called white-box sound, objective space for such a mode of presentation, the artist's first challenge as an object.
Sui Jianguo's second challenge is for the existing global Art viewing system. Chinese artists are self-constructed watch current system, in fact constitute a system for the European and American contemporary art in the benign view that the system is an important anti-allocated. whether it is Sun Yuan and Peng Yu Today, the founding of Landscape of Childhood. and under the rules of a good exhibition, but rather the artist's exhibition and the works before the exhibition constitutes a mechanism for breaking the rules. It can be said, Sui Jianguo, Sun Yuan and Peng Yu, Gu Dexin, Xu Zhen and other Chinese artists in recent years work, really embodies such a breakthrough.
Third, Sui Jianguo's work has also focused on developing countermeasures system breakthrough. curatorial existing system, some experience of the exhibition is the first, some idea of the exhibition is the first . However, this cutting-edge experimental artists, leading to the early curatorial system, a lag of crisis. curating contemporary art system, the concept seems deep in experience and this complex relationship between routinization of wrestling which is difficult to generate the thickness of a theory, more difficult to sharpen a kind of sensitivity. breakthrough curatorial system, respect the artist's own personality as a result of freedom and liberation, they have not been any system and the rule of rules, restrictions. I think, Sui Jianguo, Xu Zhen, Sun Yuan and Peng Yu after another in recent years, new work shows that the art of Chinese artists and the accumulation of twenty years, finally got the release of self-confidence and self-reflection. we are seeing now encouraging the release. This release created a very large context, ontology of art and art issues frontier have emerged.
current international contemporary art community, there are some popular topics, these topics have become A shortcut to Success. contemporary art forms of expression have also been some models of the. for example, scale amplification, or the number of amplification methods of deliberately creating a strange effect. This is the spectacle of a law. In fact, this is not new, enlarged scale of contemporary art is a classic method of standardization. I have a lot of fora mentioned, contemporary art, artists in China, gave birth to the eight classical methods usual, I jokingly called art A pleasure of contemporary art. One way is to bear the brunt of amplification method. because you will enlarge the scale of unusual things ten times or twenty times, or the number of times and two times magnification, you get an unusual amplification effect, the experience with your schedule not the same. Sui Jianguo the example, thousands of the hammer, and thousands of scythes together, it is certainly just as a few hammer and sickle with a few is not the same. in nearly a decade of European and American College education, students learn been to approach this scale of magnification. scale amplification is a standardization of contemporary art forms, methods, it is not an innovation. However, I think that magnify the wonders of long ago by the artist to create awareness. This spectacle Context was introduced into China after the artist is certainly to be critical.
I talked to Sui Jianguo 2008, discussed in the iron pipe in the rolling ball at the idea. Sui Jianguo species of scale amplification method, but he made multiple conversion. because the a large slope in the build to do, the scale is smaller. It is a special site under the artist, inspired by the special conditions of work with the original meaning. the amplification, expansion. So, I think, Sui Jianguo this work is site-specific field work. had small iron ball enlarge the two behemoths, because today's big museum exhibition space. the conditions are different, the work is changed was. But I think this work which Sui Jianguo, and did not go to rigidly stick to, or limited to simple routine amplification method, the artist questions the methodology or critical consciousness, of his decision flexibility and mobility. Sui Jianguo's work emphasizes Overall coverage of the site, parcel. he even go through the specific space, emphasized the unconscious control. And he also tried to show work in space, the dynamic and the dynamic behind the concept of time, stressed the rapidly changing field work is not controllable. artist to enter the Today Art Museum, this space, only to grasp this site, but to continue to make a scene of self-create. This is the American critic Philip Yu Tian mentioned a Chinese artist the ability to create a scene. I think that, in several important exhibitions this year, I saw a reflection of Chinese artists ability. This expression is from their own perspective on different issues for different. This, and I think the Chinese state of the art front, and there are not many so-called linear logic can be provided to the artists, or provide to the critics.
However, the current public attitudes towards the artist really has changed, is no longer the kind described by Yan Shuangxi partnership. because I found that many of the works in 2009, in fact, there is a potential audience damaging. some individual exhibition site maintained if not, they would have an accident. This situation is another Chinese art scene possibilities. With such a harmful, in fact the artist is also to challenge the extreme limits of art system. But this challenge is a huge risk, legal risk and moral hazard. The risk in the exhibition planning and how the layout of the exhibition itself, resolve, become particularly critical, and even for curators, artists live mobile adaptability and intelligence is a test. So, the challenge, I feel it is the visual experience of existing systems a breakthrough, or recycling.
into Sui Jianguo solo What is in your eyes to see, or hear with a hearing, or people have all the senses, to feel all the spirit of the cells. In other words, Sui Jianguo this head start flooded the scene the audience as a whole, coverage, wrapped into the audience as part of the exhibition. the audience to become involved in the work itself relationship. the audience and works by the artist as a live integrated whole, each element is a vivid scene. series between destruction and recycling. thousands of artists to create the changing gas market is also formed on the spectacle, on the amplification method, linear logic, and various norms break and beyond. are in the meantime, I can appreciate the art of Chinese artists pursue the strength and the bearing element problem is the free will of the Chinese artists unconventional and innovative thinking, and even traditional Chinese philosophy and all things related to a volatile flavor. So, I think there is a Chinese art is cutting edge, the edge is said that the Chinese artists in China's national conditions and specific special circumstances made an instinctive reaction. This unique conditions of art and artists in Europe and America is not unique personality. Because, among the artist's instincts, there is a spirit of self- freedom and continue to challenge themselves and in-depth unknown Discovery of courage.
In fact, since early 2009, China's domestic heavyweight scene occurred artists who called solo and with many small exhibition, build a very open context. That is, this indicates an international contemporary art scene emerged in China. Chinese artists have been discussed in the art scene, China, or the cutting edge of international contemporary art, where? the past few years China has accumulated a considerable field of self-innovation experience and discourse, there are a lot of discussion, a lot more experimental, there are many options. which has a lot of small production, many continuous small cost, small-scale acts of group exhibitions. China is not limited to site Beijing, Shanghai Art Museum, art galleries and alternative exhibition space for the so-called heavyweight, group exhibition, where it can be more specific field of various arts events and special occasions. some excellent examples of exhibition, in fact, accompanied by a large number of group exhibitions, but also accompanied by many immature young artists exhibition, but no lack of Reiki, which is a vast ocean-like to add. I think the Chinese live in this new international context is self-evident. I have attended more than ever this year with the young artist Sui Jianguo practical level, but also mental, spiritual level. Well, I found that such an art context of the discussion over there, is itself a discourse for art theory. I feel that Chinese artists are now preparing such a theory is also very good, so they have a strong spiritual power of the experiment support. they are known and unknown areas of human intercourse in such a critical point, the efforts made to expand, or cross-border efforts. such a kinds of work, I think it is very commendable.
inside of this room do not have to worry about how many artists. because, historically, every time the spirit of human exploration to the extreme, it can only explore the unknown external world and the universe, including the field of cognitive human beings once known to promote, a widened. like the tip of the world known to man surfaced of the iceberg, and the unknown is still hidden in the sea like the vast majority of the iceberg under the artist. the history of Picasso's work at the time of people's eyes, has come to the ultimate art, Duchamp's work is to another extreme; Later, people think Andy. Warhol to a new extreme. But , these artistic giants of the arrival of the ultimate always spans generations. they can only become human beings find themselves extreme, some of their own cognitive milestones. Well, now the forefront of efforts of artists, or from starting his own continue to explore human nature, to explore a person's individual freedom. I think this kind of work can be no real perfection, there are only artists on the new discovery of a dig, a grasp of new knowledge and possession.
the forefront of contemporary art, in fact, the art scene in China today, including my 2009 in Beijing, Shanghai, Guangzhou, Changsha, Xi'an, Chengdu, Hangzhou, Hong Kong and other places have seen some very good exhibition site, and artists from the eyes of some of the less experimental art scene.
(According to September 5, 2009 Sui Jianguo at the Today Art Museum exhibition ?