Ji, a professional painter, 1968 was born in Nantong, Jiangsu, and 1993 graduated from the fourth studio of the Oil Painting Department of the Central Academy of Fine Arts. His paintings give an incredible impression.
Chinese name: Ji.
Nationality: China.
Place of birth: Nantong, Jiangsu
Date of birth: 1968
Occupation: painter
Graduate school: Central Academy of Fine Arts
Representative works: Ji.
outline
Ji (1968-) is a native of Jiangsu province. 1993 graduated from the Central Academy of Fine Arts and is now a professional painter. Participated in 1994 "China Oil Painting Biennale" and 1994 "Hanmo Art Center Invitational Exhibition"; 1998 participated in the "China Contemporary Painters Joint Exhibition" of Shanghai Liu Haisu Art Museum and the "Still Life" exhibition of Beijing Siheyuan Gallery; 1999 held a "Ji Exhibition" at Tokyo Base Gallery, and participated in the "New Vision-Generation Born Around1970" organized by Beijing International Art Museum; In 2000, he participated in Shanghai International Art Biennale and Basel International Art Fair. 200 1 Participate in Chengdu International Art Biennale. In 2002, he participated in Busan Art Fair, Shanghai Art Fair, Basel Art Fair, Chicago Art Fair and Guangzhou Art Museum's first China Art Triennial.
Main exhibition
Solo Exhibitions
BAESGallery, Japan, 1999
2000 China Shanghai (Donglang Art)
London, England (China Museum of Contemporary Art)
200 1 Taiwan Province Province, China (Soka Gallery)
2002 China Orry Gallery.
2004 Seoul, Korea (Qinshan Gallery)
Hongkong (Jingyixuan, Liang Jiehua Art Foundation)
Seoul, Korea, 2005
Jointly hold an exhibition
1993 "The First China Oil Painting Biennale" Beijing, China (China Art Museum)
"The Second China Oil Painting Annual Exhibition", China (China Art Museum)
1996 "Reality: Today and Tomorrow-Contemporary Art in China", China (International Art Museum)
1997 "Other Realism" Berlin, Germany (World Cultural Palace)
1998 "China Contemporary Painters Joint Exhibition", China (Liu Haisu Art Museum)
Still Life, China.
"New horizons-a generation born around 70 years ago", China, Beijing, Shenzhen.
(Beijing: Yanhuang Art Museum; Shenzhen: He Xiangning Art Museum)
"China Contemporary Art Summer Exhibition" London, England (China Museum of Contemporary Art)
2000 "Shanghai Biennale", Shanghai, China (Shanghai Art Museum)
200 1 "Very Ordinary" Shanghai, China (Shanghai Art Museum)
Art Basel, Switzerland
"Chengdu Biennale", Chengdu, China (Chengdu Modern Art Museum)
2002 "The First Triennial Exhibition of China Art", Guangzhou, China (Guangzhou Art Museum)
"Joint Exhibition" in Okinawa, Japan (Okinawa Gallery)
Art Basel, Basel, Switzerland
Chicago Art Fair, USA
American "San Francisco Art Fair"
Melbourne Art Fair, Australia
2003 "Madrid Art Fair" in Spain
"The Extension of Contemporary Art in China" Hammerhill.
"China Contemporary Art" (Gallery)
China Hubei "The First Nomination Exhibition of Fine Arts Documents" (Hubei Academy of Fine Arts Art Museum)
American "Chicago Art Fair"
2004 "2004 Asian Innovation Art Exchange Exhibition", Taiwan Province Province, China (Tainan Art Center)
"Forever Democracy" new york
Spain's "Madrid Art Fair"
American "Chicago Art Fair"
2005 "Beijing Modern Art", Tokyo, Japan.
"7 items in art preview"; "159 lot" has been sold; "22 unsold lots"; The total turnover is "38,939,647 yuan", and the turnover rate is 88%.
main work
Title: Ji
Author: Ji
Press: Hebei Education Press (Hebei Wheat Field Book Co., Ltd.)
Release date: 2005- 1 1
Introduction: Ji is one of the representatives of a generation of painters born around 1970. He attracted wide attention with his distinctive personal style. His painting style is humorous, artistic conception is ethereal and quiet, full of romantic poetry and Zen. In particular, his choice and persistence in easel painting has highlighted its unique charm and profound significance in the increasingly popular environment of installations, images, pictures and multimedia means. This book is a collection of Ji's classic works.
works appreciation
Introduction of works
Da Chun's paintings have no concept, at least not what people want and are used to in contemporary art. They do not reflect important historical time, present scenes of daily life, or express their own judgments on real life. They are the accumulation of some irrelevant images on a blank screen, the gathering of people with typical features removed, and the arbitrary change of real objects. In the process of these paintings, people understand the image itself. For Dachun, they seem to be more like a visual movement, a subtle connection between eyes and hands. So painting became an intuitive impulse for him. For me, Da Chun's painting is to let the painting itself return to its original starting point in the noise of contemporary art, and he pays attention to the relationship between a shadow, an arc or several shapes. And to some extent, these things really can't be described in words. They don't carry any ideas, but they go beyond them, because ideas are linguistic and painting is visual. Seeing Da Chun's paintings deepened my understanding of this point.
Work reflection
No matter in language or image, Da Chun's paintings are a sort of daily reality and current visual experience. Even from the perspective of the oil painting itself, his practice of completely using black and charcoal is also a little joke about the so-called oil painting color. On the contrary, it reminds people of the ancient painting theory that "ink is colorful and Baise is afraid". Obviously, this is not the whole problem. I think Da Chun's so-called western learning, oil painting and Chinese painting are issues that he is afraid, unwilling and unable to talk about. The real focus is actually the spiritual temperament in Da Chun's works. Painting is nothing more than creating an atmosphere for him, in which he can escape from the chaos of reality and return to the chaos of building his inner spiritual world. Therefore, what people see from Da Chun's paintings is floating space, and objects are like molds.
Paste, the background lacks space-time dimension. All the characters seem to exist in another world. All graffiti modification is to maintain the integrity of this distant spiritual world. The connection between these pictures and reality is uncertain and subtle. They allude to the vast social reality with the image of a place, so his works seem to have a kind of "fable" characteristics, that is, using less to win more, using nothing to win, and using wordless descriptions to resolve reality.
Introduction of works
Description of works
If people accept that Da Chun's paintings are "fables" of contemporary spiritual life, then people will find that his paintings are like jumping out of the inexplicable stones he painted. Da Chun's paintings seem to be terrible depictions of those indescribable images. In these descriptions, there are countless possibilities through smearing and modifying. From this perspective, his works seem to show people a painting process forever. Even the finished work seems to be just a pause in the process of painting, and painting itself seems to be an endless process. For those who are used to using painting as a tool to express their thoughts, pure painting is undoubtedly a metaphor: painting itself is a process, but the ultimate essence of this process is uncertain. It should be said that this anti-essentialism painting behavior is an unavoidable reminder to the current art world.
Although my confusion about Da Chun's painting is not enough to represent the so-called China art world, I think this confusion reflects the dilemma of people's current artistic judgment to some extent. If there is a so-called "China Contemporary Painting", then its cultural logic is instrumentalism and essentialism. For a long time, people are used to defining the cultural possibility of painting by image and organizational image. Through cultural concepts, people have drawn the "essence" of images from memory and history, or the "essence" of image manufacturing from commercial images. In this process of adaptation or resistance, painting has gradually become a tool of ideas. This cultural logic of contemporary painting comes from the special political and cultural background of contemporary art in China, and also from the choice and misunderstanding of contemporary art in China by the global art system. This essentialist attitude is a special survival strategy developed by China contemporary painting in recent twenty years. On the one hand, it creates the reality that China's contemporary art is quickly recognized in the international art world, on the other hand, it simplifies people's discussion on the internal problems of art. Essentialism and instrumentalism are strategies, but they should not be the "original sin" of people's contemporary art. Instrumentalism's contemporary art creates concepts and symbols, which simplifies artistic creation. Whether in China or in a wider international scope, the development of art in the past two decades has dispelled the old cultural prejudice, but it has made artistic creation face the danger of being institutionalized and mainstreamed by art galleries, critics, galleries and auctions. In this context, the old art strategy has failed, and the real way out will be to redefine and sort out the relationship between art and reality.
Works review
From this perspective, people will find that the significance of Da Chun's painting at present lies not in his schema, but in his redefinition and combing of the relationship between art and concept and reality in a fable way that takes everything else into account. For me, Da Chun's paintings are at least a challenge to ideas and vision. In my opinion, his works and methods are a new beginning for contemporary art that has fallen into institutionalization, and also mean a kind of redemption for contemporary painting that has fallen into stylization.
Art evaluation
Everything, in Ji's eyes, is not a purely conceptual or logical vocabulary, but a more vivid and diverse concrete. At the same time, painters treat "people" and "things" equally. In his mind, "people" and "things" are both natural "creations"; On the other hand, Ji has the same love for "natural things" and "man-made things", while Ji's love for man-made things is as persistent as his belief in art. His fine products can completely eliminate the boundary between products and works of art, and * * * has a huge and complete material system with the same structure.
For the application of this system, Ji adopted the so-called "generalized synthesis method". Its purpose is not to ridicule, nor to emphasize the significance of confrontation. Its importance lies in highlighting the artist's vision, observation angle and accurate presentation. In this way, I can gain insight into the world we live in and study the objects and images around us with some intensity and permeability. Such presentation results will often make us feel refreshed and aware of the existence of those things for the first time, so that we have the opportunity to get rid of the habit of experiencing art through culture and convention, as well as the doubtful cultural values imposed on us, stimulate our desire for freedom, freshness and brand-new experience, and correctly perceive the real core of the life of the times.
The fact is that Ji's ability to synthesize everything in a broad sense does not stay on the surface of tedious listing and objective statement. The value of his creation lies in paying attention to the in-depth analysis of the times while observing everything, which largely constitutes the cultural criticism tendency of his works.
Specifically, in Ji's concept, everything not only has its original shape and appearance, but also belongs to them, but has been loaded with documents and images of human culture and history. The generation of these document images is undoubtedly closely related to the role of people in the historical era, so these document images are full of the creation of the times and the imprint of human spirit. Undoubtedly, for the contemporary era, these documents and images are also an inexhaustible treasure house of themes; The study of these documents and images not only enriches Ji's understanding of the origin of everything, but also leads to the painter's re-creation of the meaning of everything.
The use of document images is not a "patent" of Ji, but a common practice in contemporary artistic creation. In fact, the painter did use some unique narrative methods to organize what he wanted to paint. Let's call these methods "pure narrative" for the time being. If it is subdivided, it can be roughly divided into "borrowing", "mixing" and "building".
Correlation evaluation
As the name of this exhibition shows, "Chunchun" is the name of the painter and the feeling of the viewer: that kind of "pure painting" and "naive sense of humor in modeling" is full of romantic poetry and Zen, which is unique in today's painting world. Looking at Ji's paintings, people feel sincere pleasure and long-lost relaxation because of the simplicity, childishness, humor, frankness and naughtiness revealed in his works.
With his unique vision, Ji manages his picture space with several familiar materials and several common symbols, creates an exciting art world between casual and casual, and pursues the expressive force and purity of painting itself, which is his "pure" painting realm.
works appreciation