齐鹏 | Qi Peng 花漾-30 | Flowers of mine No.30 布面油画 | Oil on canvas 50 x 50 cm 2020
齐鹏 | Qi Peng 阳台上的花束 lowers on the Balcony 布面油画 | Oil on canvas 50 x 50 cm 2020
齐鹏 | Qi Peng 花漾-29 | Flowers of mine No.29 布面油画 | Oil on canvas 50 x 50 cm 2019
齐鹏 | Qi Peng 花漾-31 | Flowers of mine No.31 布面油画 | Oil on canvas 50 x 50 cm 2020
刘文炯 | Liu Wenjiong 负空间—橙（01） Negative space —orange（01） 综合材料 |Composite materials 30 x 40 x 6 cm 2019
刘文炯 | Liu Wenjiong 负空间—群青（01） Negative space —ultramarine（01） 40 x 30 x 6 cm 综合材料 |Composite materials 2019
刘文炯 | Liu Wenjiong 负空间—群青（02） Negative space —ultramarine（02） 40 x 30 x 6 cm 综合材料 |Composite materials 2019
刘文炯 | Liu Wenjiong 负空间——金（01） Negative space —gold（01） 40 x 30 x 6 cm 综合材料 |Composite materials 2019
刘文炯 | Liu Wenjiong 负空间—万象（08） Nehative space —beings（08） Acrylic on canvas 25 x 41 x 4,5 cm 布面丙烯
康学儒 | Kang Xueru 泰国印象 综合材料 |Composite materials 100 x 150 cm 2016
康学儒 | Kang Xueru 猫蝶图 布面丙烯 | Propylene on canvas 200 x 150 cm 2020
康学儒 | Kang Xueru 权利的形式 综合材料 |Composite materials 180x140cm 2015
姜俊 | Jiang Jun 仿浮玉山居图 绢本水墨 | Silk scroll ink 186x96cm 2019
姜俊 | Jiang Jun 仿柏拉图主义 绢本水墨 | Silk scroll ink 145x99cm 2018
王鹏杰 | Wang Pengjije 世界街区2号 World Block No.2 布面油画、丙稀 Acrylic、Oilo n canvas 150×180cm 2020
王霖、付晓东 关于 “文人的画” 对话
"A Dialogue between Fu Xiaodong and Wang Lin"
Fu: I am observing the state of literati painting in the new era, or how the contemporary intellectual’s paintings are different from professional painters. It is an interesting phenomenon, which may help us see the situation of professional artists clearly. Literati and literati painting as well as the techniques and skills are saturated, and no matter how they are refurbished, they cannot meet the needs of art appreciation.
Wang: The painting should actually be a state of using a brush as a tool for thinking. And it is bound to have a in-depth attention to the larger issues beyond taste, which makes the art tower over ordinary artists.
Fu: So it evolved from the aesthetic of paintings to the aesthetic of people.
Wang: I used to think that the highest ideal of painting is a perfect match between technique and taste. But in fact, without breakthrough out of the art, it will never be possible to look back at the technique and taste, and to have a proper understanding and criticism of the both. Then it is impossible to recognize how to match perfectly. Moreover, the perfect match is just a by-product which is no longer the ultimate goal of art.
Fu: Good point. The paintings can't completely focus on the technology inheritance of art history and the minor details of refurbishment, but there must be a greater normal change, and a natural change in the problem awareness and aesthetic concepts. When we really went to the end, we can discover that the problems important before may not be really that important. The language suddenly becomes a by-product.
Wang: There is no complete difference in the pursuit of realm between Chinese and Western art at different stages. There are great artists in each cultural tradition who are making efforts to emerge from the cocoon.Those artists who can make great breakthroughs in form, technique, and taste must not be confined or constrained by the category of art in their mind.
In fact, literati painting is a state, but literati is not a good word. In contrast, today's professional painters are certainly less sensitive to the taste, and they hardly think about any problem.
Fu: What word should I change?
Wang: It is just my own opinion. As I have been talking about the ancient paintings all these years, and I am also thinking about this question, i.e. what does literati painting and literati mean on earth?
Fu: Is it the development trend after the art is highly mature? At the beginning, I felt that the professional artists are currently suppressed by the capital and the market, and they are easily over-professional. They lose their drive to explore more pure origins, and don’t reflect clearly enough.The phenomenon of literati painting may be closer to the original intention of art.
Wang: The art history recognizes the language and especially the language, and those who can provide the real vitality of artistic language are those artists who are not limited by their professionalism and have more profound ideas. Although they may not necessarily make the same outstanding achievements as art in other fields, the real nourishment of art is precisely in other fields. Of course this refers to the great people.
Fu: It’s more like an escape. Whether a carrying of thoughts or self-relaxation, they draw for themselves, build a system and have a backlog of things to express.
Wang: In the past, I didn't understand why literati painters often said that they couldn’t paint well because of lacking thousands of books in their minds. Later, I realized that reading books is not to embellish my knowledge, but to get a subtle taste, and it is the most important means to have an overall understanding and grasp of art history.
Fu: The greatest function of art is nothing but for availability. All the artificial states of innovation are undoubtedly like the absurdity in the movie "Achilles and the Tortoise". However, the overflowing and gushing which is based on a powerful thought system is just the essence of creativity condensed by the times.
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