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2020 中央美院毕业季丨微展厅·研究生/中国画学院...

2020-05-31 2 people interested

微丨展丨厅中国画学院【展厅入口】https://art2020.cafa.edu.cn/gs/schoolofchinesepainting点击文末“阅读原文”可直接观展搜索“作者姓名”或“学号”可直接观看作品序   言2020年是不同寻常的一年,给每个人带来很多触动,也迎来了我们首次采用线上虚拟空间展示的毕业展。线上展览方式改变了观者原有在实体空间的习惯性读解方式,构建立体化的视觉角度对作品进行全方位的观看,它将与我们原有的欣赏习惯相平行。线上展览不仅是艺术表达在特殊环境下的应对,同时也需要我们对于新的生活环境、新的展览方式做出调整和思考。一段时间以来中国画学院经过不断的探讨,调整教学结构、整合教学资源,面临新时期的同时也引发了新的思考。所强调的临摹、写生、创作一体化的教学理念,仍然是教学发展的主线,并且在原有的基础上,加强了三者之间的关联性及创作思考的重要性。各专业在强调专业特色的同时,培养学生不仅掌握专业知识,更具备对艺术创作的独立判断能力,将关于基础训练和创作的关系的共识融入到日常教学之中,毕业展览可以说是我们教学成果的一次集中展示。今年的毕业展览通过线上展览的虚拟推展,在相同比例的视觉环境里,模拟观展的现场感受,同时在作品链接中多维地呈现学生关于毕业创作过程中的思考。虚拟空间使学生作品得到更充分的展示,作品面貌相对独立,对个人创作思考的追述和尊重、自身创作状态的审视会让我们得到难忘的收获。毕业展是学习生活的一个小结,但更是大家一个崭新的开始。在此,祝贺中国画学院的全体毕业生,你们将在现实和虚拟的更为广阔的空间里,展示你们的创造和感动!中国画学院院长 刘庆和2020年4月16日中国画学院姓名:赵岳学号:12170200007《社会剧场》系列,纸本水墨,790cm x 300cm研究方向:水墨人物画研究指导教师:王晓辉【作品介绍】作品《社会剧场》主要由《剧中人》《边界》《愚人舟》《错乱情境》等多个系列组成。其有两个灵感来源,一是戈夫曼(E.Goffman)的戏剧理论,即社会是一个舞台,全体社会成员是在这个舞台上自觉或不自觉地扮演不同角色的演员;其二是德波(Guy Debord)在《景观社会》中提出的景观异化与景观社会的剧场化概念。可以说,这种灵感契合或延续了我以往对于个体与群体关系、自我与外部社会的关注、思考,以及相关符号、图像的探索与表达。剧场作为“观看之场所”,是人与社会的中介和彼此交融的重要场域,它所构建的社会群体无意识与个体意识不断交织而形成的抽象空间,也是景观得以展现的直接途径。诚如德波所言:“景观不是影像的聚积 ,而是以影像为中介的人们之间的社会关系。”作品《社会剧场》聚焦了作为社会影像的集合化并加以呈现的“人”的景观,通过不同的情节框架来将人的形象与不同符号、元素相组合、相交织。破解原有图像的已知意义,展现其冲突与矛盾,试图通过象征性和隐喻性探讨社会文化中人作为“演员”在不同剧目中所扮演的不同角色及精神形态。由外在的常规限定和规范,进入内化的个人认知与个体意识,以思考景观异化下人自身的存在现实。姓名:刘虹麟学号:12170200029《一岁一枯荣 以何生万物》,纸本设色,80cmx240cm研究方向:水墨人物画研究指导教师:王晓辉【作品介绍】枯者荣之所倚,荣者枯之所倚。枯中孕育着荣,而荣也必将走向枯。枯与荣,看似是两个极端,却相生相依,互为因果,循环往复。就在这循环之中,万物皆因此而生。姓名:杨亚辉学号:12170200006《本能救赎》,纸本水墨,110cmx177cm研究方向:水墨人物画研究指导教师:王晓辉【作品介绍】欲望使得自我与社会的关系紧密联系,本能的反应往往是最真实的自己。姓名:房立栋学号:12170200005《我的·疆》,纸本水墨,215cmx770cm研究方向:水墨人物画研究指导教师:王晓辉【作品介绍】作品选取新疆世居少数民族中比较有代表性的塔吉克族为描绘对象,运用水墨语言来表达作者心中的新疆面孔。作品的摆放首先借用新疆“三山夹两盆”的地理特征(“三山”是指北部的阿尔泰山、中部的天山、南部的昆仑山山脉,“两盆”是指塔里木盆地、准格尔盆地)。三排竖向摆放的头像代表三条山脉,全部选用男性形象代表了阳刚、厚重、脊梁。中间两个“田”字代表新疆两大盆地,多以女性形象为主代表了宽广、慈爱。其次“疆”字的古文大篆写法是“畺”字,这组作品也是按照一个横放的“畺”字来摆放的。我曾是这里的一名学子,06年来疆求学,毕业后我选择留在新疆,因为这里始终有一种神秘的美吸引着我。随着时间的推移,我对新疆的感情从神秘到亲切从亲切到深入骨髓。我在这里工作生活、娶妻生子,从此便扎根在这片热土,在这里奋斗,在这里追梦。曾经我是这片土地上的客人,现在我是这片土地上的主人,现在逢人便道我是新疆人,我从新疆来。这是国的疆,也是我的疆。 姓名:戴钦安学号:12170200008《这里的春天.探春》、《这里的春天.遇春》、《这里的春天.知春》,纸本水墨,180cm×180cm×3研究方向:水墨人物画研究指导教师:林彬【作品介绍】作品源自所感受到的生活气息,春代表万物生发,事物都朝着美好的方向发展。在探春中,用少数民族的精神信仰诠释人们在探索春天的精神意义,给人以期待和畅想。在知春中,符号化的树木恰逢春天被种植,人和树木的姿态被现代影像所记录,以空间分割的方式让不同的物象达到体量平衡。在知春中,教育者以梦幻的理想方式呵护教育着时代的新兴者,用知识灌溉着春天里新生的晚辈。姓名:郑中华学号:12170200004《一页》,纸本水墨,200cmX200cm、30cmX40cm研究方向:水墨人物画研究指导教师:毕建勋【作品介绍】每个人在社会中扮演着不同的角色,书写着和生命轨迹相关的各自不同的故事。作品《一页》并不是把每个人的生命轨迹进行串联,通过对人物肖像和生活空间的描写来表现人在特定的生活环境中所体现的生命状态和信仰。姓名:杨永嘉学号:12170200003《边界跨越》综合材料 摄影原作尺寸:85CM*300CM 输出设备:SONY ILCE-6400  输出尺寸:6000*3376\\M   曝光时间:1/160秒    光圈值:f/10研究方向:水墨人物画研究指导教师:毕建勋【作品介绍】往年毕业作品展是一件仪式感十足的事件,人头攒动的美术馆空间内,艺术作品被激发其意义和活力,驻足观瞻才更能让这场毕业大剧充满那独一份儿的仪式感。这是一次自我寻找这份仪式感的策展计划。以我所生活的周边环境作为最直接的策展场地,展览就在生活的剧场中拉开帷幕。创作灵感来源于疫情中,生活空间被有意识的分割,“隔离”这一关键词的介入,颠覆了以往的生活,包括艺术的观看方式,这同时也改变了我针对这次毕业作品展的创作方式。为高大上的美术馆空间所准备的作品,在某种程度上失去了原有的意义。作品与生俱来的物质属性必定会在线上虚拟的空间中发生一次次叛逃。也许让作品在虚拟的网络等待着观众,不如发挥想象力,主动出击,走进生活。空间上的隔阂不得不让我对所在的生活环境,艺术与现实之间的关系,和艺术作品本身的物质属性产生了新的感受和思考。正如上世纪70年代,希腊艺术家塔纪斯在建筑师Johan Ottovon Spreckelsen设计的新凯旋门(La Grande Arche)前的作品《水镜面与信号灯》。其作品跨越了艺术原本空间的限定范围,呈现出开放和联结周边场域,消除作品形式化的空间界限。在变现时间和空间的同时,作品也是自然风景的一部分。作品的垂直线与环境中的不同的水平线结合,借用不同的水平线造景,变换生活中熟悉的舞台,剧场性空间的作品展示,在不同环境下可能产生独有的魅力。制作过程中临时邀请了身边几位不能如期上学和工作的朋友,共同协作完成此次计划,也许思维差异导致创作方式和内容的不确定性,可以为我的毕业仪式感增添些许的魅力吧。用镜头记录时间、地点、阳光的变化,将这次特殊的毕业仪式归档。姓名:程云栋学号:12170200001《幕后》,纸本水墨,220cm x145cm《入境》,纸本水墨,145cm x350cm《安全距离》,纸本水墨,135cm x135cm研究方向:水墨人物画研究指导教师:刘庆和【作品介绍】2020年春不得不说是个真正让人过后愿意去回望的阶段。即便是现在回想两个月前那种害怕与焦虑也是那样的鲜活。就像我们现在回想2003年“SARS”依然能够想到儿时的我对于一场传染疾病的恐惧。全民居家限行对于像我一样平常忙碌的人们来讲或许真正的感觉到可以有理由休息一段时间。但限行久了随之而来的是无限的无聊与懒惰的思考和对疫情状况的猜测。加之面临毕业创作使我不得不去思考一些平时无暇思考的内容。一段时间对于绘画的思考不出所料的感觉到自己之前是偷懒了。惭愧的是疫情期间的外部环境倒是把自己“逼上了梁山”。弥补了自己以往没有直面的思考之后马上迎来了与创作的肉搏巷战。面对尺幅较大的创作不得不说偶然状况随时都会上演。真的就好像在这张画里与未知和困难拼个你死我活。这就是创作者在创作过程中的艰难与痛苦。或许只有自己才深得体会。面对作品和创作我经常矫情,但我很讨厌无病呻吟。我排斥在创作中见什么人穿什么衣来博人眼球,恨不得拿着喇叭叫喊着大家来看我穿了一件新衣。相比之下我更加喜欢那种娓娓道来的讲话方式。听着平淡实则句句戳心。我曾经看到过一段文字我依然记忆犹新。“真正打动人的东西不是非得告诉别人我是怎样的与众不同,好的创作不是这样的,突然一下子吸引众人的眼球,也许很快就会被抛掷脑后。个人感受的东西虽然一下子公示于众,但是可以内心独白,不强迫别人听的时候,也许更能让人倾听。”我想这是我的创作所追求的东西。姓名:朱葛星学号:12170200002《宴》,110x160cm《人参果》,130x80cm《下一个》,249x129cm《白沙滩》,249x129cm研究方向:写意人物画研究指导教师:刘庆和姓名:刘春兰学号:12170200020《自在飞花轻似梦》,纸本水墨,180x500cm研究方向:花鸟画研究指导教师:岳黔山【作品介绍】偶得幽闲境愿向花前醉姓名:武梦璇学号:12170200021《阳光下》,纸本设色,200x200cmx3研究方向:花鸟画研究指导教师:岳黔山【作品介绍】春日的阳光明朗通透,充满生机充满生机的植物用力拥抱自然,寒冬过去春天如期而至。姓名:刘巧学号:12170200009《起止》,绢本综合材料,204x132cm研究方向:工笔人物画研究指导教师:刘金贵、徐华翎【作品介绍】塑料制品和打印技术是这个时代数见不鲜的存在,塑料制品于人的关系是双向的。在未知的空间世界,由塑料制品作为原材料打印生成的机械人、工作拼装的巨大生命物,循环往复,是开始也是结束。姓名:高磊学号:12170200030《妆》,纸本设色,116×173cm研究方向:工笔人物画研究指导教师:金瑞【作品介绍】妆是女性日常生活的片段,美在温婉、含蓄而富有情感,以工笔的手法表现三位女性的日常生活,以反映这种波澜不惊的平淡美,妆不仅指女性的美,更指生活中美的存在与感受,它可能转瞬即逝,但只要我们有发现美的眼睛,美便无处不在。妆是女性日常生活的片段,美在温婉、含蓄而富有情感,以工笔的手法表现三位女性的日常生活,以反映这种波澜不惊的平淡美,妆不仅指女性的美,更指生活中美的存在与感受,它可能转瞬即逝,但只要我们有发现美的眼睛,美便无处不在。闲适的时光总是让人备觉短暂,因为闲的状态,能让人超越现实世界的功利与实用,进入审美与诗意的世界,这何尝不是生活中的美呢?这种美像是一壶茶,悠然而清香。婆娑梵音,是意像世界的明灯,最终指引人走向智慧,是美、善与真的智慧,那便是人们生活之感,心中之境。姓名:何月舟学号:12170200010《倾听》,重彩,木板,75×135cm研究方向:工笔人物画研究指导教师:金瑞【作品介绍】作品名为《倾听》,是倾听自己内心的声音。中国传统思想认为,世间万物都是人本心的显现,所以探求万物背后的道,也就是把握人的本心。姓名:梁译元学号:12170200011《恶之花》,重彩,木板,83x124cm研究方向:工笔人物画研究指导教师:金瑞【作品介绍】唯愿花不再开于“恶”的心灵之土。花本无罪,丑恶的是将邪恶之手伸向它的人。作品以罂粟花象征被贩卖的野生动物,它们本自由生长,却沦为利益交易与口腹之欲下的牺牲品,背负着疾病的罪恶之名。姓名:陈欣悦学号:12170200012《艮岳》,绢本设色,170x180cm研究方向:山水画研究指导教师:陈平【作品介绍】以艮岳的历史为文本来源,叠石成山。借用容器的透视效果,突破画面二维的平面空间。太湖石夸张的表现意味暗喻了水面上的皇家园林与水面下的民生凋敝。姓名:刘建平学号:12170200013《溪山览秀1》、《溪山览秀2》,纸本水墨,110cm×220cm×2研究方向:山水画研究指导教师:陈平【作品介绍】作品源于南雁荡山的写生,作者通过中国画独有的观察方式,以游观的视角创作出不失传统,又颇具当代笔墨语言的全景式山水。姓名:彭瑾慧学号:12170200015《归来》,纸本设色,180x97cmx6研究方向:山水画研究指导教师:丘挺姓名:刘金霞学号:12160200028《仙山清远》,金卡设色,103x296cm《万众一心》,金卡水墨,103x312cm 《春之韵》,金卡设色,103x306cm研究方向:山水画研究指导教师:丘挺【作品介绍】创作这幅作品的的出发点旨在表现对美好生活的祝福,观《杏花孔雀图》深受启发,构思过程中结合写生,将孔雀、牡丹、杏花、玉兰、坡石以和谐的方式重新组合,以写意、没骨、工笔等绘画语言,借花鸟世界的勃勃生机,传达自然之美、生活之美。  今年疫情的突然爆发,“最美逆行者”及全国各条战线都在行动,家国情怀在每个中国人的心中激荡,万众一心、众志成城,那种面对生命保存时壮烈感、使命感、崇高感萦绕与每个的的心头,这张创作正是在这中激荡中孕育而生的,以可“独木成林”的神龙树(榕树)的坚毅、顽强的精神象征中华儿女在面对灾难携手奋进、同根共生、一脉相连的强大凝聚力和坚韧不拔、百折不挠的精神,以纯粹的水墨语言,强烈的的形式感表现。粗壮的根干如山川般浑厚巍峨、茂密的枝叶以泼墨和积墨表现每一片生命在颤动。   “天地万物有大美而不言”这幅作品我用浪漫主义表现手法绘制出心中“虚境”“空灵”山间云雾缭绕“世外桃源”。采用全景式大山水的布局形式,整体画面上视觉开阔,以青绿重彩设色,皴染细密,绘以高山、溪泉、云雾、古木如实如幻的意境和繁缛精丽的形式,在山间云层叠涌,造成云雾迷蒙的幽远空间,虚实相生的境界,展现远离世俗、虚幻飘渺的人间仙境,描绘出乌托邦理想生活的一片乐土的心灵归宿。姓名:高雪涛学号:12170200016《月涌江流》,纸本设色,150x180cm研究方向:山水画研究指导教师:刘荣【作品介绍】作品以家山为本,表现夜山景致,月下山乡的静谧,幽深,虚静,古朴。姓名:李亭学号:12170200017《山海图》,绢本设色,175x145cm《桃花源记》,绢本设色,42.5x270cm《望山白云里》,绢本设色,40x80cm研究方向:山水画研究指导教师:刘荣姓名:卢浩然学号:12170200018《呦呦鹿鸣》,纸本设色,123.5×243cm研究方向:花鸟画研究指导教师:陈相锋【作品介绍】《呦呦鹿鸣》 这件作品是运用兼工带写的方法来表现画面,画面主要由八只小鹿、柏树、竹子和石坡等题材构成,这些不同物象不仅丰富了画面语言,同时也增添了画面所承载的美好寓意和精神追求。首先,画面中四季常青的柏树经常被人们赋予斗寒傲雪、高尚坚强的品格;其次,画面中的竹子也常被人们视为坚韧不拔的象征形象;最后,画面中奔跑的八只小鹿正在跨越前面的坡石,意在表达一种朝气蓬勃的生命力。因而,整个作品旨在表现旺盛蓬勃的生命力和坚韧不拔的美好品格,同时也意在表达我们全国人民携手共进,共创美好生活的愿景。姓名:于欣驰学号:12170200019《秋憩》,绢本设色,130x200cm研究方向:花鸟画研究指导教师:陈相锋姓名:于登瀛学号:12170200022《四季平安图》,绢本设色,182x125cm研究方向:花鸟画研究指导教师:谢青姓名:资晖丽学号:12170200023《种蔬》,纸本,180x175cm研究方向:花鸟画研究指导教师:谢青【作品介绍】作品选取农家蔬果为题材,豆角穿篱石,丝瓜绕屋椽,表现出田园闲适之趣。姓名:刘雪蛟学号:12170200028《翰墨·五行》,纸本设色,120×120cm×5研究方向:中国画创作与史论研究指导教师:于洋【作品介绍】《尚书·周书·洪范》云:“五行:一曰水,二曰火,三曰木,四曰金,五曰土。水曰润下,火曰炎上,木曰曲直,金曰从革,土爰稼穑。润下作咸,炎上作苦,曲直作酸,从革作辛,稼穑作甘。”五行学说是中国古代哲学一种原始的系统观。古人将宇宙万物根据其存在性质和运动状态分为金、木、水、火、土五种基本类别,旨在描述事物的运动形式及转化关系。后人将五行论推演到更多领域,产生了更重整体和相互转化的五行相生相克理论和五行与天干、方位、颜色、神兽、八卦等范畴的对应关系,以至运用到中医领域与人的五脏一一对应。可以说五行观渗透到古代生活和学术的方方面面,影响深远。本系列作品从五行学说与传统文脉、文化艺术的密切关系撷取创意,根据五行的基本属性及其与方位、神兽、颜色的对应关系,运用汉字书写在不同时代的书体变化和承载物的特性,旨在从一个视觉案例呈现传统资源的当代转化。在五幅作品中,金与西方、白色、白虎相应,主要根据青铜器铭文、器型和纹样等元素书写、绘制;木与东方、青色、青龙相对应,这件作品以竹简木牍的样式、特点和“四君子”图像的比德精神来呈现木的属性和青龙身体盘踞、四肢舒张的形态;水对应北方、黑色、玄武,根据碑刻拓片的基本形制和肌理效果书写、绘画,运用碑刻文字和阴线刻画的多张单幅作品,拼贴出玄武的概略轮廓和走势;火与南方、红色、朱雀对应,运用印章文字和画像砖图像等元素的单幅作品组合成朱雀的大体轮廓、动态;土为中央,与黄色、黄龙相对应,主要以隶书和行书运用书纸、信札的样式进行书写,组合一些白描作品,纵横交错排布来表现“中”的四方之中、四通八达的区域特征和天圆地方的阴阳学说与宇宙观。此作品中的书写内容来自于古典文论、画论、诗歌、箴言和作者的毕业论文节选,暗示从青铜器铭文、石刻文字、竹简木牍、印章印玺、书籍信札到今天的现代书写,在湮灭与创造中一脉相承、源远流长的中华文化文脉。作品以作者的书法书写和图像绘画为主,辅以小部分的书纸拼贴(每幅五分之一左右),旨在暗示印刷术的发明与普及对文化艺术传播发扬之伟功,此外,古籍书页形式的运用,作为规范整齐的视觉元素,补充平衡自由书写、绘画的独立性和松散感,起到连接作用,增强了整体画面的节奏感。在这一系列作品图像的背后,翰墨书画艺术语言系统与中国传统文化宏观规律呈现出何种关系?材料表现的视觉张力与书写绘画的规范性呈现出何种关系?图像表达手法与文本表达方式的组合呈现出何种关系,这些都是本作品试图探讨与尝试揭示的问题。姓名:陈嘉豪学号:12170200026《恽格诗一首》,纸本,180x34cm研究方向:书法艺术研究指导教师:徐海【作品介绍】晓阁吟风得句迟,抽毫点石带云移。藤花细落香风起,帘卷山窗读易时。——恽格《题山谷画》,略参缶翁笔意成此。姓名:张启元学号:12170200027《蟠条印仿制》,紫铜、手工焊制,36x12cmx22研究方向:书法艺术研究指导教师:徐海【作品介绍】手工焊制拟隋唐蟠条印,以期对蟠条印独特的制作工艺和文字结构进行深入探究。姓名:朱亚北学号:12170200025《饮中八仙歌》,266x40cmx4《八荒我闼诗句》,120x280cm《专属教子呼童联》,290x40cmx2《篆书四万三百联》,255x40cmx2研究方向:书法艺术研究指导教师:刘彦湖【作品介绍】(本作品详情介绍,请以线上展厅简介为准)以艮岳的历史为文本来源,叠石成山。借用容器的透视效果,突破画面二维的平面空间。太湖石夸张的表现意味暗喻了水面上的皇家园林与水面下的民生凋敝。姓名:高树晨学号:12170200024《草书系列》,纸本,276x69cm《楚辞紫砂印系列》,紫砂,4-6cm研究方向:书法艺术研究指导教师:陈平【作品介绍】草书作品取法黄庭坚和祝允明笔意,章法多借鉴徐渭大字行书狂乱中不失秩序的韵味。篆刻作品运用紫砂材料尝试表现汉印和形图砖等多种结构和气息。 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Around Leonardo. Pupils, followers, imitators...

2019-09-10 879 people interested

This is an exhibition that— in the year of the celebrations of the five-hundred-year anniversary of the death of the Renaissance genius — focuses on the artistic and cultural climate generated by him in his time that from today (and until August 25) proposes in Venice the Levi Foundation in Palazzo GiustinianLolin. “Leonardo e la sua grande scuola” (“Leonardo and his great school”)— this is the title of the exhibition curated by Nicola Barbatelli— exhibits in fact 24 works that illustrate above all the personality of the so-called “leonardeschi”(“Leonardesques”), some of who attended his workshop in Lombardy, when he was in the service of Lodovico il Moro, and the works by the “leonardeschi” largely crystallized on the master’s style, remaining at a sidereal distance from him. However, they had the great merit of spreading, through their travels, the innovative style of Leonardo also in areas outside from his journeys, like Giovanni Agostino da Lodi (not present in the exhibition) in Venice, Bernardino Luini in Switzerland or Cesare daSesto in southern Italy and Rome.This is also remembered by a historian of Venetian art such as Giovanna NepiScirèin one of the essays accompanying the exhibition’s catalogue (still in print).The works of some of them, from Bernardino Luini to Cesare da Sesto, to the beloved pupil Salaì, to Giampietrino to Marco d'Oggiono, are precisely in the Venice exhibition. In some cases, with works of high level such as “Marta e Maria Maddalena” (“Martha and Mary Magdalene”)or “Maddalena con vaso d’unguento” (“Magdalene with an ointment vase”)of Luini, in particular for his ability to combine Leonardo’s sfumatowith a kind of metaphysical rigour that pervades his figures. And  exactly Magdalene herself is represented in one of the symbol-pictures of the exposition, the “Maddalena discinta” (“Bare-Breasted Magdalene”),that next to the preponderant hand of one of the Leonardesques — perhaps Marco d’Oggiono for the curator, perhaps Giampietrino for a great Leonardo scholar suchas Carlo Pedretti, recently passed away — could also see the hand of the master. Peculiar also a large “San Gerolamo in penitenza” (“Saint Hieronymus Penitent”)by Cesare da Sesto, who enriched Leonardo’s language with revivals from the classical art and from Raphael.The Leonardesques’ distinguishing feature remains — variously declined — the compositional smoothness, the use of sfumato, the diffuse illumination, the melancholic beauty of the subjects, the ambiguity of the faces. Leonardo’s sure presence in the exhibition is however represented by a fragment of a study drawing for the lost fresco, “Battaglia di Anghiari” (“Battle of Anghiari”)— of which the Gallerie dell’Accademia exhibit in this period several sheets — and by that of a “Testa di uomo” (“Man’s Head”), gone over again by the hand of a pupil of the artist. The director of the Levi Foundation, Giorgio Busetto, the president of the cooperative party Venice 2000 Foundation, Giuliano Segre and Francesco Stochino Weissof the Beijing Music Festival Arts Foundation yesterday presented in the opening ceremony. As a matter of fact, the exhibition, after Venice, will fly to China, to be shown first in Beijing starting from the early September, and then in other cities in China. In line also with the musical vocation of the Levi Foundation, in the Chinese stages it will also see musical interludes with the Ugo and Olga Levi Venice Ensemble with students of the Benedetto Marcello Conservatory, that will perform Renaissance music with vintage instrumentsand also passages of Chinese tradition.Enrico Tantucci ...More

To Hold a “Knowledgeable” Exhibition - Taking “Exhibition of Selected Works from the National Beiping Art School Period” as an Example...

2019-08-07 884 people interested

The “CAFA Art Museum (CAFAM) Collection Series: Exhibition of Selected Works from the National Beiping Art School Period” (“National Beiping Art School Exhibition” or “the Exhibition”) is a trademark CAFAM collection exhibition since 2012. It has received good response and acclamations from the society. The Exhibition is one of the few monographic collection series in the domestic art museum world. It is a program worth exploration and reference, in the aspects of its selected topics, exhibitions, academic research, publicity and exhibition period. The article will analyze the intellectual and academic qualities of the exhibition’s content and structure.Living in a world filled with thousands of various exhibitions, including the collection exhibitions, we are still struggling to find meaningful ones in them. It is partly due to the limited level of exhibited artworks, but is further because of the out-of-date curatorial ideas and the result of which, lack of exhibitions with substance and reason. In an era of information explosion, when the information people receive increases greatly, the audience are no longer satisfied with the superficial image of artworks. They have more need for the cultural concept and creative intentions behind the world. The quality of the exhibition’s effect lies in the curatorial team’s ideas, which decide every detail of an exhibition. CAFAM is one of the earliest to raise the idea of producing knowledge in art museums in China. It views the art museums as a public space that produces and provides knowledge, and regards “knowledge production” as the historical responsibility and profession of art museums: “Art museums should be a synthesis of ‘knowledge production’. Every action related to art and culture that happens in an art museum can build up the meanings and values of ‘knowledge’; Art museums should take the production of ‘knowledge’ as its starting point and core meaning.” Art museums have historical responsibility in social education. Its exhibitions represent the professional institutions’ perspectives and attitudes. Through exhibitions they lead to discussions about the artworks, promote research on relevant art history research and the dissemination of artistic concepts, for the public to acquire knowledge and new perspectives on art. This is an important channel for the art museums to practice its function. In this sense, when we hold exhibitions in an art museum, we need to consider what the audience need and what we need to show them.Under the guidance of such concept, every step during the preparation of the National Beiping Art School Exhibition is centered around how to study the collection, how to make the audience understand the artworks, the theme of “Beiping Art School” and how to help the audience understand the exhibition and learn knowledge. This is a common goal for all the collection exhibitions - with real content and attitude, to “study history and collection profoundly and structurally and form an ‘art history’ writing.” 1.  Cultural Responsibilities and Knowledge Production from the Perspective of the Selected Topics of the National Beiping Art School ExhibitionThe topics of collection exhibitions are very important. The topic is the guideline of an exhibition. A good exhibition’s topic must have high academic level, historical sense, and contain social thinkings about the history and modern time, so that it is fresh instead of cliche and powerless; so that new possibilities could generate from the historical collections, while new academic viewpoint and research result can be passed on to the audience; so that the audience could truly learn things and further push forward the art cause.Why choosing the topic of the National Beiping Art School Exhibition? CAFAM has given to it thorough thinking: First, National Beiping Art School is a miniature and milestone of the development of modern art education in China. In the foreword of the first series exhibition it says: “The National Beiping Art School will was not only the fine art education shrine that gathered the best teachers and students and represented modern Chinese art, but also a cultural front that advocated spirits such as art education for all and the combination of art and science.” Many important thinkings, events and figures of modern Chinese art history are interwoven with the history of the National Beiping Art School, especially in Beijing, without the knowledge of the School would make it difficult to understand art during the Republic of China period. Moreover, as the predecessor of CAFA, the School is the foundation of many of CAFA’s heritage. During its 30-year development in Beijing, it had established close relationship with Beijing’s cultural scene, and was one of a significant aspect of Beijing culture. Thus, the National Beiping Art School is an utterly important and meaningful topic in terms of modern art history. Meanwhile, it is also a paradox: As the first national art school of modern China, a nursery ground for a large number of talents, it is still perceived vaguely, shatteredly, and inadequately by the public and even the academic world. In a long period of time, knowledge and research on the Beiping National Art School was in its primary stage. Its historical meaning is still far from well dug into. In this sense, this topic has filled in the gap of Chinese art history, as well as the gap in most audience’s cognition of art. This is exactly the responsibility of art museums. In the early stage of preparation for the Exhibition, CAFAM took the angle of art history research, and tried to bring in a macroscopical and historic thinking. What the museum needs to do is more than the display of artworks, but more importantly to tell a history, to fill the gap in the audience’s knowledge as well as art history research.2. Knowledge Production and Communication of Collection Exhibition from the Perspective of Organization and Execution of the National Beiping Art School ExhibitionThe successful selection of topic has solved an important problem, but why curating such an exhibition? How would the museum hold such an exhibition and will it be able to successfully hold the exhibition? The answers lie in adequate preparation. Only with adequate preparation the exhibition will naturally happen.In the foreword for the first series exhibition that focuses on western paintings, it mentioned four fundamental works regarding the National Beiping Art School: First, the discovery of important artists and artworks; second, organization and protection; third, featured researches on the collections and the National Beiping Art School; digital archiving. It was because these works have made progress that CAFAM was able to begin the exhibition series. Regarding the execution of the exhibition, the curators hope every part of the exhibition could offer adequate information and effective knowledge for the audience, so that they could understand the exhibition in multiple perspectives and levels, and make new discoveries through the exhibition. To achieve this goal, the curators put great effort in the selection, writing and organization of the exhibition, with the hope that the audience could comprehend the essence of the art during the National Beiping Art School period, and construct a succinct but complete image of the School. (1) Choose angles and accurate positioning of the exhibition according to the practical contentThe National Beiping Art School displayed by the Exhibition almost has no trace in most people’s memory, and that’s why a great deal of image archives and researches are needed to enrich the School’s picture. It is a fine art school with comprehensive disciplines, including painting, music, theater and architecture; in its 30 some years history, there were numerous disciplines and complex staff and student groups, which makes it especially important to choose what content the exhibition would display. In recent years, paintings by the first west painting professors Wu Fading and Li Yishi, like Wu’s Portrait of Woman Wearing Qipao and Li’s Portrait of Chen Shizeng (Picture 9), and works by teachers of the later period such as Sun Zongwei, Qi Zhenqi, Wang Linyi are gradually discovered and organized. Adding the original collection of masterpieces by Xu Beihong, Zhang Daqian, Qi Baishi, Huang Binhong, Chen Banding, Chang Shuhong, Wu Zuoren, Ai Zhongxin, Li Keran and Li Kuchan, CAFAM is equipped with a fundamental collection of the National Beiping Art School period. However, the collection is mainly composed of oil painting, Chinese painting, sketches and pastel painting, which is limited in categories and not able to reflect a complete picture of the School. Even so, another research on teachings during the Naitonal Beiping Art School period indicates that these categories exactly echo with the two most important and longest-established departments - western paintings and Chinese paintings. It is based on this fact that the curation of the Exhibition highlights these two departments, in order to show the main image and artistic characters of the School. In order to fully present the highly distinguished conditions and developments of western paintings and Chinese paintings in that period, the exhibition took the form of series exhibition, and held two feature exhibitions separately for western and Chinese paintings.Exhibitions with a specialized angle might not be comprehensive or grand, but they have more advantage in offering effective knowledge and information to the audience. This is a very important function of collection exhibitions. (2) Select exhibited works by academic standard and professional knowledgeExhibited works are traditionally the main body and most important component of an exhibition. The richest and most emphasized content of any exhibition is the exhibited works. To curate a fruitful exhibition for the audience, we must select works with high artistic value. Many of the exhibited works at the National Beiping Art School Exhibition are very precious works with high academic and artistic value, most of which are exhibited for the first time; some have even filled the gap of academic studies, such as Wu Fading’s Portrait of Woman Wearing Qipao, Li Yishi’s Portrait of Chen Shizeng, Portrait of Wang Mengbai in the western painting sector; and Zheng Jin’s Fox, Magnolia and Peacock, and Chen Shizeng’s album in the Chinese painting. With these precious works once again entered the public sphere through the Exhibition, neglected masters such as Yao Manfu, Xiao Qianzhong, Wang Mengbai, Tang Dingzhi, Yu Shaosong, Yan Bolong, Qi Zhenqi, Fang Bowu were also discovered. In the academic world, these works provide more complete materials for research on art history and construction of fine art memory of the Republic of China era; in the social realm, the public enjoy the opportunity of gaining a more complete, honest and richer knowledge of the art of the National Beiping Art School.These works themselves were not labeled with “National Beiping Art School”, neither were they from the same source, so how did we select and gather them up? It was thanks to the extensive effort of exhibition organizers. Every search and categorization of a work is a transmit of knowledge. A especially good point of the National Beiping Art School Exhibition is the serious-minded organization of works based on fact checks. Each and every artwork selected for the exhibition conformed to the exhibition’s standards, and could reflect the message the exhibition would like to pass on. When the exhibition was first organized, CAFAM has clear and strict rules for the works to be selected: First, as the theme is National Beiping Art School, the works must be related with the School - works from the School’s teachers or students, with its date and information clearly recorded, though because of the immature development of researches on the School, we encountered a lot of difficulties in the fact check works. Moreover, the National Beiping Art School people usually generally refer to was founded in 1918 and merged into Central Academy of  Fine Arts in 1949. Since it stopped existing since 1950, with a lot of academic changes happening since then, the works by the right authors must also be created during circa. 1918-1950. This is to guarantee the original presentation of the School’s art styles and to reduce historical misreadings. In order to find most comprehensive collection of works by the National Beiping Art School’s artists, we on the one hand search for names in the School’s staff and student rosters; on the other hand, we went through resumes of artists collected by CAFAM, and located those who were related to the School. After strict screening of works, we selected works that accord with the exhibition standards. But even though, they were not the final selections (all of them were included in the exhibition catalogue for future academic studies). Only the most precious and wonderful artworks were eventually exhibited according to requirements of the exhibition standards and space. The exhibited works could most directly tell the audience what the National Beiping Art School was, and what are the works that could most represent the School. The process of selecting works were also a process of clarifying truth, a process of showing the real picture of works from the National Beiping Art School period. Furthermore, as exhibited works were strictly organized according to the chronological order of the artists’ birth date, it could clearly present the change of era, and make the audience understand more clearly the School’s development in different stages. (3) Organize history and academic background behind works from the perspective of academic research and audience’s acceptabilityAlthough the National Beiping Art School Exhibition was divided into two themes: western painting and Chinese painting, due to the lack of the public’s knowledge of the School, it would confuse the audience if we directly entered narration about the two genres. In this sense, it is particularly important to have a basic research and introduction of the history and development of the School.  Only when the audience understood that part of information that they would understand the artworks’ cultural meaning, historical and artistic value. So firstly, facing the problems of the School’s complicated history of being established and re-established by different governments during the Republic of China period, its confusing naming in different stages and even today, curators conducted basic but clear organization of the history of the School. In the opening exhibition (Western Painting), the curators set up several blocks that provide introduction of the School in text and pictures, to form a vivid, graphic memory of the School. I now list a few of the blocks below: 1) The National Beiping Art School Chronology organized by Cao Qinghui (Picture 14 & 15), which presents detailed time of every change of the School’s name, directors, administrative affiliations, and addresses; 2) Table of the Corresponding Relationships between CAFAM Western Painting Collection’s Authors and the National Beiping Art School History, made by CAFAM, which organizes the exhibited artists’ time of study or teaching at the School, linking abstract history events with concrete paintings and creating a whole piece of picture with the two separate parts; 3) Archives, photos, seals and part of the books collected by the National Beiping Art School Library (Picture 16 - 20), such as the sketch portfolio sent by Zhang Xian to the School in 1936, articles by Xu Beihong and others to mourn Qi Zhenqi’s death, reports on Qi Zhenqi’s death, the School’s 1928 yearbook, archives of all phases of the School collected by CAFA, and “Artworks in Overseas Collections” at the “Realignment” exhibition, etc. These precious and vivid materials carry a great deal of historical message  and traces, bringing the audience to the time of the School, and passing on abundant historical codes to the audience. Meanwhile, the first systematic exhibition of these precious archives further provide materials and fuels to the development of academic research. For instance, in the following “The National Beiping Art School and Art of Republic of China” symposium, a scholar spoke about the Line between the North and the South issue of the Republic of China art based on Zhang Xian’s sketch portfolio.As many artists of this exhibition were unknown to the public, the Exhibition also sorted out complete resume of each artist (Picture 21), including the artist’s photo, birth date and death date, birthplace, alias, education and work experience, and major academic propositions, and mostly importantly, their teaching time and positions at the National Beiping Art School. Through this resume, the audience would know the artists’ achievements, their relationship with the School, and the important roles these people played in the Republic of China art world. In both the western painting and Chinese painting sectors, the artists’ signs and inscriptions were recognized; especially in the case of the seals, preface and postscripts on Chinese paintings, we especially displayed the text recognized by professional scholars alongside the original artworks, so that the audience could compare the text with that in the paintings, to help themselves better understand the works’ intentions.Except for the above mentioned works and archives, the Exhibition also collected, and displayed relevant research materials of the National Beiping Art School, to provide academic researches with more clues and questions, which makes it a good practice of pushing forward research with exhibition. In order to explain the special characters of the School’s period, especially the relationship between teachers’ creative practices and theoretical research (painting studies), the Chinese painting sector of the Exhibition collected and exhibited the first editions of important essays and articles by the exhibited artists published in the Republic of China period. Some of these materials are already academic classics, but there were hardly any chance for them to be gathered together, especially their first edition; in this case, the Exhibition presented a special scenery by linking these articles together with the thread of the National Beiping Art School. Meanwhile, the organization of these materials also provide systematic clue to Chinese paintings created during the National Beiping Art School period and even the Republic of China period (Picture 22). CAFAM saw this exhibition as a platform to gather materials of value in all layers, and through categorization and organization it hopes to see chemical reactions in thinking and research.The Exhibition’s introduction and presentation of history and academic background shows CAFAM’s academic level and vision. Only when the historical relations of the artworks are organized and the stories behind artworks are well told, that the audience would find it easier to understand the exhibition and the knowledge behind it, so as for the effective communication of knowledge. (4) Conduct systematic and focused academic researches and guide the audience through the exhibitionOnly putting good artworks together won’t make a good exhibition. The real value of a work is the historical value and artistic value it carries. Thus the Exhibition proposes to conduct analyses on artworks not from the superficial and isolated angles of their content, techniques, but from their (art) historical background and development, and to appreciate different works and discover their charisma via comparison. Guiding the audience to appreciate artworks is both the museum’s responsibility and requirement for knowledge circulation. Feature research became the partly hidden and partly visible kite string behind, as well as the academic core of the exhibition. It is exactly this idea that the Exhibition would like to affirm, that we should show the audience content and clues through art historical researches, and tell the audience what to see and how to see. All the research of the Exhibition series was centered around the National Beiping Art School’s history from the perspectives that the audience could easily understand, to re-organize the chaotic and complicated history events, and provide the audience with essence of artistic development below the surface.The academic focus of the exhibitions are clearly set according to the paintings’ genre and time. All three exhibitions include Associate Professor Cao Qinghui’s simple but profound feature research. Such a significant research body, tailored specially for an exhibition, is a rare case. In the western painting sector, Professor Cao Qinghui wrote an essay titled “Mainstream, main thread and others”, in which he conducted analyses on collected works and their authors, while linking them to the development of western art in China in the 20th century, so as to organize the main thread of the introduction and practice of western paintings in the first half of 20th century with the National Beiping Art School as an example. Research found out that most of the western painting teachers of the early National Beiping Art School period have studied abroad, so have the teachers from the late period, that’s why their works are closely related to Japan and Europe and involve complicated teacher-student relationships. To put it simply, the main thread of western painting’s development is linked by overseas students and their students; the main stream is the introduction of realistic paintings and the formation of realistic trend and school in 1940s. The main thread of Chinese painting’s development, on the other hand, was narrated by Prof. Cao Qinghui in his essay “The Transformation of Painting Studies Through Broken Shadows of Chinese Painting”. He analyzed main issues the Chinese Painting Department of the National Beiping Art School faced in the 30 some years history, such as the conflicts between western pedagogy and traditional Chinese painting study, conflicts between officers with overseas study background and Chinese faculties, and ups and downs of logic methodologies of painting study, the evolution of Chinese painting and the development of realism. The two essays not only provided distinctive organization and study of the history of western painting and Chinese painting disciplines of the National Beiping Art School, but also clarified the two disciplines’ faculty background, development process and art styles, narrated the major history events of western painting and Chinese painting, and divided the School’s history into clear phases. Based on this solid research result, the exhibition was curated from the two unique angles of overseas study and painting study, which reveals to the point the core question in changes of faculty and art styles during the School’s development. The exhibition thus offered special viewpoints and clues.The practice of the National Beiping Art School Exhibition indicates that except for good artworks, collection exhibitions must also have profound study and systematic organization of collected works. This kind of study should avoid pinning a meaningless academic label on works or exhibitions, which would only confuse the audience. Such study should go through detailed and accurate academic research and organization, should target certain aspects, while also considering the audience’s acceptability. (5)  Set up the museum’s educational responsibility in historical narration through collection exhibitionsThe Exhibition advocates an academic attitude of restoring and envisaging history. This accords with CAFAM’s educational responsibility to restore history and conduct historical narration.The history is full of variety and causal relationships, but it is also hypercritical and forgetful. Many hidden historical events are equally important in their days, and are an important node in the study of history. The lack of avoidance from history will lead to many misreadings, and thus the lost of vitality. In face of these significant problems, CAFAM should present objective exhibitions. The National Beiping Art School Exhibition, when dealing with the National Beiping Art School during the enemy occupation of Beiping  (it was named National Beijing Art School at the moment), gave that history objective positioning and evaluation.A museum’s display and narration of art history should be systematic and consistent, which is an important embodiment of the museum’s educational function. The National Beiping Art School Exhibition boldly experimented on this aspect, and made some achievements in the two exhibitions on western and Chinese painting. It seems that the question of the National Beiping Art School has been answered after systematic organization of the two painting disciplines, but following them CAFAM releases the third exhibition, named “Realignment: From National Beiping Art School, Yan’an Luxun College of Fine Arts to China Central Academy of Fine Arts” (Picture 23). In the foreword of the exhibition it says: “The museum narration of the National Beiping Art School, CAFA and the evolution of 20th century Chinese art, based on museum collection, has reflected the teachers and students’ creative trends, ups and downs in styles at the School and CAFA in different historical phases of 20th century. It starts to touch upon the relationship between the academy and the society, teachers and students and creative trends. In order for the narration to be more inherently logical, and to establish and dig deep into the historical relations between collected works, our museum believes that it is necessary to conduct specialized organization of the establishment of CAFA by merging the National Beiping Art School and the Yan’an Luxun College of Fine Arts through collection and archives.” The exhibition will further complete the  narration of the National Beiping Art School Exhibition series, and in the meanwhile facilitate explicit expression of CAFA’s relationship with its two predecessors, to form a “comparatively complete thematic museum narration”. The thinking is based upon a macroscopic narration and sincere attitude towards academic studies, and demonstrates CAFAM’s systematicness and sense of responsibility in terms of its public education function.3. Exhibition as a Component of Museum Knowledge CirculationThe National Beiping Art School Exhibition also went through profound and serious academic discussions about other topics relevant to the School. It expands the exhibition’s influence, generates more research subjects, and truly promotes research in this aspect. The Exhibition is no longer isolated, but has become a component of museum knowledge circulation. During the exhibition, two important symposium and semniar were settled: “The National Beiping Art School and Art of Republic of China” symposium (Picture 24) and “High as Mountains and Long as Rivers: Masters of the National Beiping Art School” seminar (Picture 25). The symposium invited over 40 experts from relevant academic field to speak, the content of which was later edited and published as a book. The seminar includes over ten lectures, each of them was unfolded around an old master from the National Beiping Art School. We have also combined seminars with master and doctor courses, encouraged the students to participate in the seminars and write essays based on the issues and their interested points mentioned in the seminars and the exhibitions. Throughout the development of relevant events, the three exhibitions of the National Beiping Art School Exhibition also continuously brewed and formed a positive cycle.Meanwhile, the Exhibition also practiced CAFAM’s good archiving tradition, editing and publishing the Exhibition’s data and research results. The Exhibition’s publication is not only an exhibition catalogue - it also adds in many works that weren’t exhibited, and significant academic materials that cannot be presented at the exhibition, to make the exhibition’s academic and archival quality more complete. The successive release of the publications also helps preserve and circulate the Exhibition’s research fruits, with they themselves become important research books of the field. It is worth mentioning that CAFAM also produced digital exhibition room for the Exhibition using digital technologies. It recorded the exhibition venue with 360-degree cameras, and linked the exhibition’s information to the visual footage, so that the exhibition’s visual effects could be preserved permanently, and the audience could revisit real site of the exhibition on their computers.A good exhibition shouldn’t be a lecture out of a textbook, but should contain rich thinkings of the curators. It’s like creating an unknown world for the audience to discover themselves. The audience could either achieve something following the route designated by the curators, or discover their own interests and inspirations freely. A good exhibition is not the end point of a research or an isolated event, but should be a transmission shaft that passes on more abundant resources, or a fermenter that incubates more fresh matters.The feature collection exhibition in Chinese museums is only at its beginning stage, and the National Beiping Art School Exhibition is a beneficial experiment. It sturdily completed a thematic series research, pushed forward development of relevant academic fields, and enhanced the public’s knowledge of art in the National Beiping Art School period to a certain extent. In this process, the museum’s curatorial idea was also well represented. Although the content is about works and archives of nearly a century ago, the curatorial idea and approach, as well as the ultimate effect of the exhibition, are new. Picture 1: Poster of the “Selected Works of Western Painting Created in the Period of National Beiping Art School” ExhibitionPicture 2: Bus stop light box advertisement design of the “Selected Works of Western Painting Created in the Period of National Beiping Art School” ExhibitionPicture 3: Large printing of the photo of the Auditorium of the National Beiping Art School and previous names of the School at all stages, put at the entrance of the “Selected Works of Western Painting Created in the Period of National Beiping Art School” ExhibitionPicture 4: Photo wall, archive presentation and seal background at the “Selected Works of Western Painting Created in the Period of National Beiping Art School” ExhibitionPicture 5: Entrance of the “Selected Works of Chinese Painting Created in the Period of National Beiping Art School” Exhibition (3rd Floor). A scroll painting of the National Beiping Art School collected by CAFAM is used as the main image of the exhibitionPicture 6: On-site photo of the “Selected Works of Chinese Painting Created in the Period of National Beiping Art School” ExhibitionPicture 7: At the entrance (3rd Floor) of the “Realignment: From National Beiping Art School, Yan’an Luxun College of Fine Arts to China Central Academy of Fine Arts (1946-1953)”  exhibition. The Chinese inscription of “National Fine Art Academy” by Mao Zedong is used as the main imagePicture 8: On-site photo of the “Realignment: From National Beiping Art School, Yan’an Luxun College of Fine Arts to China Central Academy of Fine Arts (1946-1953)”  exhibitionPicture 9: Li Yishi, Portrait of Chen Shizeng, Oil on Canvas, 70x130cm, 1920, Collection of CAFAM (This work is one of the two portrait works of Li Yishi from the 1920s that are known to be left to date. It is a very precious artwork and research material)Picture 10: On-site photo of the “Selected Works of Western Painting Created in the Period of National Beiping Art School” ExhibitionPicture 11: On-site photo of the “Selected Works of Western Painting Created in the Period of National Beiping Art School” Exhibition. The reading table and provided materials at the exhibition are spoken highly of by the audiencePicture 12: On-site photo of the “Selected Works of Chinese Painting Created in the Period of National Beiping Art School” ExhibitionPicture 13: On-site photo of the “Selected Works of Western Painting Created in the Period of National Beiping Art School” ExhibitionPicture 14: The National Beiping Art School Chronology compiled by Professor Cao Qinghui, displayed at the “Selected Works of Western Painting Created in the Period of National Beiping Art School” ExhibitionPicture 15: Seals of the names of CAFA since its establishment in 1918Picture 16: Photo wall of the valuable photos throughout the history of the National Beiping Art School at the “Selected Works of Western Painting Created in the Period of National Beiping Art School” ExhibitionPicture 17: Books collected by the National Beiping Art School Library, displayed at the “Selected Works of Western Painting Created in the Period of National Beiping Art School” Exhibition; displayed on the upper right corner is the sketch portfolio donated by Zhang Xian in 1936Picture 18: Photo of the “Selected Works of Chinese Painting Created in the Period of National Beiping Art School” Exhibition. The painting in the photo is Qi Baishi’s Eagle donated by the artist to the School in 1935. Displayed on the shelf on the left is Ling Wenyuan’s Discussions on Chinese PaintingsPicture 19: Yu Shaosong’s Fu Tang Lei Gao, displayed at the “Selected Works of Chinese Painting Created in the Period of National Beiping Art School” ExhibitionPicture 20: The National Beiping Art School Chronology compiled by Professor Cao Qinghui, once again displayed at the “Realignment: From National Beiping Art School, Yan’an Luxun College of Fine Arts to China Central Academy of Fine Arts (1946-1953)” ExhibitionPicture 21: The “Selected Works of Chinese Painting Created in the Period of National Beiping Art School” Exhibition collected and collated detailed resume of the artists. Many materials are made public for the first time. All the 34 resumes were shown in the exhibition area for the audience to quickly enter the atmosphere of the National Beiping Art SchoolPicture 22: The “Realignment: From National Beiping Art School, Yan’an Luxun College of Fine Arts to China Central Academy of Fine Arts (1946-1953)” Exhibition organized the representative artworks which were created in the early years after the establishment of the People’s Republic of China and cannot be exhibited on site, and displayed them as a video titled “Artworks in Overseas Collections”.Picture 23: The “Realignment: From National Beiping Art School, Yan’an Luxun College of Fine Arts to China Central Academy of Fine Arts (1946-1953)” Exhibition displayed Mao Zedong’s inscription of “National Fine Art Academy” in 1949 for the first time as a piece of workPicture 24: “The National Beiping Art School and Art of Republic of China” symposium was co-held by CAFAM and School of Humanities on April 6, 2013. A group photo was taken after the symposiumPicture 25: “High as Mountains and Long as Rivers: Masters of the National Beiping Art School” seminar was held by CAFAM and School of Humanities in Autumn 2013. It invited renowned scholars in China to conduct lectures on important figures in the history of the National Beiping Art School. The seminar has 10 lectures, and stirred heated discussions.Written by Li Yaochen, Director of Department of Collection, CAFA Art MuseumOriginally published in Issue 6 of University and Art MuseumEdited by Zheng Lijun1. The National Beiping Art School Exhibition has three parts: 1) CAFA Art Museum Collection Series: Selected Works of Western Painting Created in the Period of National Beiping Art School (November 27, 2012 - April 25, 2013); 2) CAFA Art Museum Collection Series: Selected Works of Chinese Painting Created in the Period of National Beiping Art School (June 6, 2013 - December 1, 2013); 3) Realignment: From National Beiping Art School, Yan’an Luxun College of Fine Arts to China Central Academy of Fine Arts (1946-1953) (November 4, 2014 - March 1, 2015).2. The National Beiping Art School Exhibition was listed as one of the Outstanding Exhibitions of National Exhibition Season of Brilliant Collection Works from Art Museums in China by the Ministry of Culture.3. Wang Huangsheng (2012), Art Museum as Knowledge Production, p.13, Central Compilation and Translation Press4. Wang Huangsheng (2012), Art Museum as Knowledge Production, p.14, Central Compilation and Translation Press ...More

The Adventure of Leandro Erlich...

2019-07-19 949 people interested

Fram Kitakawa, founder of Echigo-Tsumari Art Triennale and Setouchi Triennale Leandro Erlich is an artist that aims to jump out of the generic space of galleries and art museums. He tries to break through the space embodied by the 20th-century urban high-rise architectural complex. It is a bold challenge, from which we can comprehend his role in the contemporary era, and the reason behind his popularity.Some people hang themselves upside down on the wall; some cling to the wall; some hang on the wall with one hand; some completely free up their hands. It is in fact an illusion reflected on a glass board set in a 45-degree elevation angle. People are only lying down on the facade placed on the floor. —BuildingThe reflecting mirror placed in front of the real corridor creates an effect that the corridor is endless. — The CorridorThe clouds in the shape of France, Britain and Japanese Archipelago is the aggregation of irregular patterns formed by multi-layered glasses. - The CloudThe elevator is tightly packed, yet meanwhile there’s a strange man standing in it. — Elevator PitchIn the classroom next door, phantom-like people are looking at this side smiling. — The ClassroomI look through the window at the window of the house across the garden, only to see people standing in front of the window looking at a different direction, just like myself. — Lost GardenThe rolling coin operated laundry machine is only an illusionary image. — LaundryEvery room in the opposite building is changing slowly. — The Room (Surveillance II)When I believe I am looking down at the apartment buildings from high above, I am actually only standing on the floor. — La veredaThe wall of an old architecture is floating in the air. — Window & LadderA few boats are floating on the water surface without water, showing the ripples. — Port of ReflectionsAll walks of life can be seen walking under water from above the pool. — Swimming PoolThe changing rooms, originally single rooms, are connected by multiple rooms. The inside can be seen very clearly. — Changing RoomsLight is leaking from beneath the rooms, but as you enter them you will find that they are only walls. — The DoorsOn a sunny day, you look outside the window only to discover violent storms. — RainIn a hair salon, the mirror in front of my reflects a person behind me who shouldn’t exist. — Hair SalonWalking outside, you’ll see a house hanged up in the air. — Pulled by the RootsGeneric space is a predominant idea of the 20th century, or the modern time.  Mies van der Rohe believes that the capital and labor are congregated in the urban area, which leads to a metropolis full of high-rise buildings and composed of steel and glass walls. In fact, cities that develop around high-rise building complex are appearing all over the world, in China, Europe, America and Africa. This kind of space is detached from the multiplex characteristics of life and historical experience, and becomes a void space like laboratory. By changing the dividing wall of a room, a building can be easily transformed into a residency, office or restaurant. There is no more convenient building than the ones with well-adjusted indoor air. People in such space is counted and manipulated as a quantifiable figure.The space has lost the history and culture peculiar to the land, while people are defined by demographic statistics -  this is exactly the viewpoint that shroud the whole world impacted by the global market economy. Art is also developing under the same background. The ‘white box’ exhibition space encircled by white high walls is the space incised from the surrounding, having the same appearance in all countries and regions. This is called spatial balance. In such space, works can purely show their core concept, like in a science laboratory. In here we can clearly understand the jumping thoughts of the artists.However, here lies a big question.Does the ideal abstract space really exist?The problem we are truly facing is the constant deterioration of global environment, the increasing wealth gap one-sidedly created by the market economy controlled by transnational capitalists, and the capitalist moral degeneration resulted from it, leading to the loss of individual sensibility, mechanization and the disappearance of local culture. Since ancient times, artists have been gradually disclosing the relationship between human and nature, and civilization in the midst of the crisis of civilization and at the dawn of new eras. During this process, they use a technique mastered by human.The cave paintings in Altamira and Lascaux are on the one side pray for human’s toil in risking their life capturing middle-sized beasts, and on the other side pray for the pain the captured animals suffered. They embody the united relationship between human and nature. In any subsequent era, art has been the reflection of the relations between nature, society and human. In the vast universe formed accidentally, for the human race born at one moment of the universe, art is the only index of our self-cognition. Without that index human race won’t exist. Like language and literature, art is an index with universal meaning (a very good example is the paintings by the aboriginals). Leandro Erlich tries to break the boundaries by making use of the difference between materials such as glass boards, glass and water, and create boundaries in intangible generic space by using high-quality materials produced in modern industry. This is his creative practice.Everyone is at the terminal point of global information, drowned in all kinds of information, signs and rumors, while believing that we can freely choose and collect certain information. However, they are only the information manipulated within the limit permitted by power, capital and the Internet.These information is fixed in a specific image, and leads to a time that art stops progressing. It seems that we can freely choose from endless information, but the composition and thought pattern are becoming stereotyped.At this time, Leandro Erlich emerged.Either a work is put in Beijing, Johannesburg or London, people can appreciate and understand it in the same way. This is the exhibition standard of 20th century art in white boxes such as galleries and art museums, as well as the 20th century philosophy. Such generic space shares the same character with market economy, international finance and the Internet, and is the most influential (best) idea of the 20th century. It is fair to say that art develops based on generic space.— To judge a thing with the same viewpoint no matter where. —So, in order to transcend the generic space, how does Leandro consider it? Let us take a look at the meaning of Chinese characters, an ancient pictograph.移す (utsusu) →To copy, transcribe, keep and record.映す (utsusu) →To reflect an item’s original look as the light illuminate other items.映す (utsusu) →To duplicate, reprint and copy the original.The three words, with the same etymological origin, changed gradually and form the modern usage of “utsusu” (They share the same Japanese katakana and pronunciation).The different kinds of works by Leandro Erlich, to speak about them in Japanese or write about them in Chinese characters, are to show the context of “utsusu” in a brief and one-time-only place.He seals the space’s time here, like the time sealed in a movie. In his perspective, generic space has become an exceptionally indifferent space without accumulation of time. Thus, his method is to break through his own generic space by transferring a generic space.Modern space is only a thing without the concept of time. Leandro Erlich raised here a theory to generate space by transferring, duplicating and moving the subject. The object changes according to the human (subjects)’s behaviors. This is also the relationship between man and nature since ancient times. In Chinese characters there are homonyms that show turning points. I try to explore this relationship with the different meanings contained in these words. This is what Ernst Mach talked about “”, and the world described in synoptic gospels since ancient time. To simply put it, it is because I have sympathy for the word “stand”, that my reflection in the mirror is standing.I want to talk about the certainty in Leandro Erlich’s creative practice. As he is having his exhibition in Beijing, I would like to elaborate with the “Six Principles of Chinese Painting”, written by Chinese painter and critic Xie He, who lived in the fifth and sixth century, in the preface to his book The Record of the Classification of Old Painters. This is a time that Buddhism was introduced to China from India, as well as a time that ‘art’ itself is questioned as for how it can understand and reflect the nature and society human feel about. At least in Japan, the final destination of Asian culture, ‘Six Principles of Chinese Painting’ is regarded as an important art theory.The basic elements of painting it raised have also been applied outstandingly in modern art.Correspondence to the Object: the modeling abilitySuitability to Type: color perceptionDivision and Planning: space compositionThese elements are what Leandro Erlich, who was born in an architects’ family, best at, and the reasons why his works are vivid and easy to understand.Transmission by Copying: mastering of the classic, or the forefathers’ achievementSuch learning pattern could ensure the modernity of his works. In other words, it offers the audience a new spatial experience. From here we can see Leandro Erlich’s knowledgeability.Bone Method: the unique technique and feeling of the artistBased on the above-mentioned, as I talked about Leandro Erlich’s personal art concept earlier, he is creating a void in homogeneous space by “transferring, copying and reflecting”, and thus creating a new and rich space. The aforementioned five principles can be obtained with practice, except for the last one which is Spirit Resonance.This is the conversation between the work and the audience. In other words, it  points to the realization of a new spatial experience. What Xie He believes is that the overall energy of a work of art may impact the audience. It is full of vitality as if it has the power to shake mountains and rivers. And to judge if a work has that energy, we should see if it has the overall vitality. It seems that Leandro Erlich has such works with spirit resonance.In Buenos Aires, Leandro Erlich’s hometown, there’s a public work named The Democracy of the Symbol. The work covered the top of the city’s iconic monument, and showcased the duplicate of the top in front of the museum. The work seems to be “hidden” before “transferred”, but it is actually made separately after the original was hidden. Although I haven’t been to Buenos Aires, but I heard that it’s a popular place for dating lovebirds and protesting people. Society, politics and power co-exist in this place. Since ancient Greece, squares have been a place for people to voice themselves, sometimes they could also be place of suppression. What does the embodiment mean here? Leandro Erlich lives in South America, but his thought penetrates the whole modern time. It reminds people of Christo’s  artwork ‘Wrapped Reichstag’, or Eisenstein’s movie Battleship Potemkin. Homogeneous city also rises with the support of power. For modern people, can the art museums completely be a place of freedom? This remains to be questioned.Moreover, in Japanese countryside Echigo-Tsumari, in an exchange museum designed by Hiroshi Hara that reminds people of oasis in a desert, Leandro Erlich created a building similar to the structure of urban architecture in the wading pool, as if he was criticizing the modern civilization by “transferring, duplicating and reflecting” the constantly extending modern generic space. People can see the building reflected on the water from the balcony, and can also go into the pool to have fun. He started to move his creative place to squares and countryside, one step closer to the nature which is suffering from destructions.20th century is filled with symbolized information, programmed human and stereotyped space, while Leandro Erlich initiated a bold adventure, trying to break through the leading generic space with the power of art. He’s like Don Quixote who longs to time travel to the Middle Ages, or a modern-time warrior. Leandro Erlich was born in the middle of South America of the old time. Just like Garcia Marquez trying to create a world that overthrows European and North American values with literature, he tries to create a world with his artworks - from the white cubic of galleries and museums to squares that stand for civil society, his footsteps extend to the gradually degenerating, formalizing cities. Let us keep an eye on his adventures.Written by Fram Kitakawa, founder of Echigo-Tsumari Art Triennale and Setouchi Triennale Translated by Liu YanchaoProofread by Lu YufanEdited by Zheng Lijun ...More

Zhang Zikang: Leandro Erlich - --Begin from Amazementing, the Game of Seeing and Believinge...

2019-07-19 935 people interested

Zhang Zikang, Director of the Art Museum of the Central Academy of Fine ArtsCAFA Art MuseumThe Art Museum of Central Academy of Fine Arts(CAFAM) held a solo exhibition for the well-respected artist Leandro Erlich. The exhibition, titled ‘Leandro Erlich: The Confines of the Great Void’, is, which is the mostanother important onesolo exhibition of the artist’s after the onehis solo exhibition in Karlsruhe Art and Media CenterZKM in, 2015in Germany, and anotherthe one in MoriArt Museum, 2017 in Tokyo Japan. in 2017.Prior to this, Leandro’s artworks has attracted massive attention of manytheaudiences all over the world. Through the fermentation of the Internet and social media, his work has reached a wider audience, inspired them to produce numerous photos and interactions on social media. In some sense, the concept of Leandro’s artwork ishas been betterfinished by the participation of the audience. His work also makes people realize that the form of art is being changed by both the audience and the artists, in such a deep interaction with the public. I think this is where the unique charm of Leandro’s art work lies. Through his art work, we get the chance to think about contemporary art and its exhibitions, and about how to form a new viewing relationship with the audience under the catalysis of the new media culture. Losst, vagueness, perceptual confusion---these are the feelings that Leandro’s artworks often brings to the audience. As Leandro said, there is a wide experimental field between seeing and believing. With the spatialpsychologicalsubversion of the ordinary space, such as spatial displacement and architectural illusion, Leandro explores the misplaced problem of the existence ofthe fuzzy boundary betweenexistential reality and consciousness, creates a situation in which the reality and the illusory overlap, and triggers the audience to rethinkthe perception andits diversity.  In order to best express the concepts he wants to elaborate, media and visual forms such as installations, ready-made products, sculptures, videos and even paintings have been adopted by Leandro, and he has successfully created many cultural landscapes that challenge our perception ofperceptual inertia. In Chinese proverbs, thereThere is a sayingin Chinese called “Seeing is believinge”, but Leandro’s artworks makes us feel that “seeing might not be believing”, because this visual artist who was born on the South American continent has made usnaturallymade us wonder ifthink thatthe South American’s magical realistm cultural genes have deeply influenced him. His works have provided a possibility that what we see might not be real.In Leandro’s work, there are many places without clear boundaries--- a Pool that seems to descend from the skyappear out of nowhere, a house that is Pulled up by the RootsUprootedfrom the ground, a closed DoorThe Doors with light leaking from the crackbeneath,a few boats that float on the water that looks like mirror etc. These daily scenes evoke the viewer’s’ sense of reality, like an entrance to “heterotopia”. It echoes tois similar towhat Lao TzuLaozi said, “There is something concrete in the emptiness and there is something real in the ambiguity.”, across two distant cultural time and space. The combination of reality and representation brings illusion to the audience, confusing the direct perception of the human eyes, bringing the audience into the imaginary world which is full of mirroring images.Wherever Leandro Ehrlich’s work goes, there will always be a carnival that embraces visual art. His humor is sharp, and the surprise is just a prelude.In the process of slowly unfoldingAs the storyslowly unfolds, the many pendulumshints he has buriedleft for us are worthy of ourcareful subtle taste.pondering.Written by Co-curator: Zhang Zikang, Director of the Art Museum of the Central Academy of Fine ArtsCAFA Art MuseumTranslated by Liu YanchaoProofread by Lu YufanEdited by Zheng Lijun ...More
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