A Thousand Plateaus Art Space

Painting 2012

Painting 2012

distance no.1 by chen liangjie

Chen Liangjie

Distance No.1, 2005

Prix sur demande

artwork 1976 by chen xianhui

Chen Xianhui

1976, 2011

Prix sur demande

twins by ji yiwei

Ji Yiwei

Twins, 2012

Prix sur demande

willy why do you cry by ma wenting

Ma Wenting

Willy Why do You Cry, 2012

Prix sur demande

embarrassing stay by wu shuang

Wu Shuang

Embarrassing Stay, 2012

Prix sur demande

super loofah by xie bingxin

Xie Bingxin

Super Loofah, 2012

Prix sur demande

samedi 24 novembre 2012samedi 22 décembre 2012


Chengdu, Sichuan China

Painting 2012
November 24 – December 22, 2012

Opening: 3:00pm, November 24, 2012 (Saturday)

Artists: Chen Liangjie, Chen Xianhui, Feng Hanping, He Qianli, Ji Yiwei, Li Yin, Liu Chuanhong, Ma Jie, Ma Wenting, Pang Xuan, Qin Qing, Song Yongxing, Tang Ke, Tian Zhenzhen, Wang Jun, Wei Yan, Wu Jiangtao, Wu Shuang, Xiao Kegang, Xie Bingxin, Yu Aijun, Zhai Liang, Zhu Bing

The advocates of Minimalist have asserted: Paintings have died. After seeing Titian’s paintings, the Renaissance connoisseurs have also said: Paintings have died. The more subtle opinion was put forward by Pliny the Younger, the scholar in ancient Roman, who only said: Paintings were degenerated. Why have people been repeatedly announcing the end of paintings? Because that the paintings are there all the time.
Today’s art world is no longer the period that the media represents the position, whatever the medium is, it subjects to the equal test. However, there are still many people suffering from the impact of the art concept in 1980s, as a result, they believe painting is outdated. In fact, it’s true, for the reason that painting has never been fashionable, or there is no fashionable art, but fashionable concept.
In the art world, there are always good works and not-so-good works. While in painting world, there are always good paintings and not-so-good paintings. There are always standards, which are difficult to explain; history seems to be a reliable standard, but history itself is vague; theory seems to be a reliable standard, but it is just for itself; feelings seem to be a reliable standard, but it becomes another art when convey the feelings to others. In today’s perspective, the price seems to be a reliable standard, only when art changes into the money game.
Only one thing can be determined, that good works have never been born to meet a certain standard, because they must be proud. Good artists have never paid attention to any standard, but allowed the belated praise pretend well prepared, and then become well known. So art is a dangerous gamble, in which losers will lose the opportunity to prove there aesthetic ability, while winners will be forced to socialize their private enjoyments.
Painting 2012 shows a part of the new paintings we saw in 2012. Maybe it is one of the last groups of paintings for us before the end of the world. In fact, the core of painting is related to it. It has nothing to do with the promise of the future, is independent of the existence or the pros and cons, but is just a spirit retained by a purely visual form. The invited artists are also making efforts to explore. In addition, we also emphasize Young in this exhibition. Being young is a state. For art, young artists still have original curiosity.

In this exhibition, there are a total of twenty-three artists invited, with their diversified works.
Having attempted paintings about covering and showing for some time, Chen Liangjie uses several looming images to bring the audience into the fog again. , Chen Xianhui depicts the past time with blunt straight lines, while depicts the present life with bouncing lines. He creates two kinds of works at one time, to make time no longer latitude, but solid that can be called at any time. , Feng Hanping depicts a decadent and slightly rock world, while his use of color seems to call something fresh, which gives his works an inwardly tension. , He Qianli releases his own inspiration with smooth canvas, and hinders the release with dry canvas. The fictional world in his images is always growing, just like plants, while the canvases are like different soils. As an artist who likes images, , Ji Yiwei probably wants to draw different portraits for every image of his mind, and then let them back to an era of images. Li Yin used to be fond of bright colors, but his images are becoming plain; the objects in his paintings have never assertive, no matter they are bright or plain. It is like telling a story without intrigue or magic, but just in honest words. , Liu Chuanhong is really telling a story. As an expert in making up stories, he has well-known characters and unexpected images. Those paintings are perhaps the visual evidence for his heart, which seems old-fashioned and rebellious. From dull objects, , Ma Jie can always find some mysterious and delicate personal feelings. There is a kind of tremor in his images, making all sights passing by alongside the core feeling, at the same time pointing out a place similar to white hole. In a unique way of describing, , Ma Wenting alienates herself from the normal scene. However, the alienation is free of any hint, symbol or narrative ingredients. As a result, those scenes get rid of the original identity, and change into a subtle inner picture instead. , Pang Xuan quotes some fragments of ancient Chinese painting, trying to find some kind of structure similar to Glossary to change the symbolic of the fragments into a new picture relationship. , Qin Qing builds the space in the paintings with intuitions, and portrays objects related to memory. He changes the vision of space into the perception of time, there seems to be countless improvise poetry. , Song Yongxing’s works seem to have a stubborn and keen ability of reproduction. The reproduction seems appropriate in his skilful depiction. No image is telling the story in it, all of them are telling the stories happening during the period they were portrayed. Recently , Tang Ke is searching a new visual structure in the repeat themes. For him, theme is a choice of life and emotion, as an emotion deeper than culture representation, and a premise for him to enter a new structure. , Tian Zhenzhen uses painting to represent the feeling of cleverness brought by collage. The elements of collage are not borrowed, but portrayed by her. So she cures the imagination world twice to convey the interest inside. , Wang Jun is always trying to enter some kind of pure abstract relationship by getting rid of the bondage of style. It is a kind of pure practice on temperament. We can see how severe the challenge is from the abandoned colors. , Wei Yan builds his own myth world, and has a good swim inside. The wonderland portrayed on canvas and paper seems left by him on purpose, as a clue for people to find his traces. , Wu Jiangtao seems to make-up for the objects of her images with the lines and colors. She doesn’t only makes-up for the figures, but also breaks the limit of body, to make it stretch to the background. Works of , Wu Shuang have a kind of vitality. They stem from fashion but are not the same. Her works seem very close to a flashy world, but they keep their distance by virtue of self-consciousness. , Xiao Kegang’s works have a sense of clutter, which comes from peace. However, he seems not satisfied in mind, so the works reveal a sense of order, which comes from alteration and destruction. , Xie Bingxin likes bright colors so much that even the bleak parts of her images are bright. He seems very imaginative, but struggling against those things making works naive. , Yu Aijunis thinking about the presentation of painting media. He considers the external attention as an opportunity for further painting. In fact, all problems about light and shadow are not easy to answer. , Zhai Liang seems to start looking for the fun of philosophy in painting. Among the works, a kind of clues emerges, which can be organized. As a result, his works reveal a sense of contradiction between hide and candor. It seems that , Zhu Bing has the same sense of contradiction when he depicts woods. He doesn’t know whether he should conceal himself in the woods or he should suspend in the air outside the woods.

It seems more or less hasty that I describe how I feel the two dozen artists in a paragraph. If putting them upside down in accordance with sequencer to make me re-write, everything will completely change. Probably it itself is because the diverse viewer perceptions of the works. Good works will always attract people’s attention, making feelings change with different moments. Moreover, we are always looking forward to the moment of being touched by works.

Venue: A Thousand Plateaus Art Space, 87# Fangqin Street, Gaoxin District, Chengdu