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"Magnanimity - Collection of Atypical Works by 21 Chinese Artists"
Sep 09 - Oct 07, 2012

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"Magnanimity - Collection of Atypical Works by 21 Chinese Artists"

In the middle and late 1980s, 《Concept 21》 performance artists group showed in the Chinese contemporary art. 21 originally referred to the 21th century in the future according to the artists, while Zhu Qingsheng explained further that 21 means “regardless of the consequence” as in Chinese idiom. No matter according to intention of the artists or the extension by Zhu Qingsheng on theory, 21 expressed the cutting-edge attitude of Chinese contemporary art in breaking from the past. Artists in Relying on Benevolence, Enjoying Art- Exhibition of Non-representative Works by 21 Chinese Artists also has the number 21 in the title, hopely it will obtain the determination of “regardless of consequence”.

There is an extreme side of avant-garde, however, it is still valuable for Chinese contemporary art. All the arts in 20 century are more or less of avant-garde. The profundity of avant-garde theory comes from its opposition to the antiquated recognition (which assumed that a certain form is more natural, proper, and delightful than the other). Contemporary art is more mixed, there is no such form that is more natural, proper and delightful than the other.

Avant-garde perceives art only from the present, at the same time it hopes to consolidate the review on the present. French philosopher Alain Badiou’s claim on avant-garde is: “What avant-garde deeply concerns is that there should be an absolute present for art. There is no wait. There are no descendent but only non-stop battles against ossification and death in art. Now and here, we have to win.” The requirement for absolute present of avant-garde and its fighting with ossification and death in art is positive. Although we don’t have to insist on wining now and here, at least it brings opportunity to change and renew, thus it is an attempt to start.

The Chinese ancients said: “Vast is the ‘great and originating power’ indicated by Qian. All things owe to it their beginning.”Qianyuan (originating power’ indicated by Qian) refers to the principle of creation, deciding the Dashi (genesis), Xing (creation) and Ge (revolution). Xing (creation) is the process from nonexistence to existence. Ge (revolution) means abolish the existing things, which is transfer existence to nonexistence. For Chinese contemporary art, creation and revolution are built upon each other, and make innovation together. Art critics Robert Hughes who recently passed away in August 2012 said: “During the technology development from the steam age to the electrical age, the feeling of acceleration in all the aspects of human discourses including art appeared. From now on, under the pressure from new experience and the requirement raised from using new forms to include new experience, convention no longer applies, and formal knowledge no longer stays unchanged.”The acceleration in Chinese contemporary society has brought huge pressure to human discourses including art. That propels artists to innovate historically and personally, so that contemporary art can include new experience and concepts.

Chinese contemporary art has developed for more than thirty years by now, in which it is not of any exaggeration that art has been obsessed by fame and benefit. Especially in the last ten years, at the instigation of the market, fame and benefit on the one hand made Chinese contemporary art gain more attention, on the other hand caused negative pressure for artists themselves to some degree.

In the last twenty years in 20 century, Chinese contemporary art strived to obtain the freedom of expression. In the recent ten years, when contemporary art is faced with the corruption of fame and benefit, art itself is also trying to get rid of it. As famous artists, in consideration of influencing the future artists, they should reduce the impact of fame and benefit as much as possible and try their best to excite the positive energy in artistic creation.

In terms of media, there includes painting, photography, sculpture, video, installation, behavior, audio, and also conceptual works integrated in these media. In terms of creation period, it is from the earliest Song Yonghong’s work on paper made in 1989, to the latest works that several artists created especially for this exhibition. Generally speaking, all the artists have laid down their burden, which refers to the burden of thought, of fame and benefit, and of competition. Hence, they are able to display their works in an easy mood, and come back to the most originally easy, enjoyable, peripatetic status of artistic creation.

The Chinese character “Yi” (art) used to refer to rites, music, archery, driving chariot, calligraphy and mathematics in the time of Confucius’ while today it specifically means art. As professional artists who enjoy art in every day and night, regarding art as a joyful existence from their inner heart, they can deal with problems in a free and easy mood so not being tired by matters. Enjoying Art, is to keep calm and relaxed in the art world. Just as Song Yonghong said: “Fall all these years, we learned too many principles in art, which are about the surviving of artists, about if an exhibition is important, about the secrets in art. All of them seemingly accord some certain law, and that goes against to the principle of freedom in the creation of art.

ARTISTS:Cui Xiuwen,He Yunchang,Jiang Zhi,Jiao Yingqi,Jin Jiangbo ,Li Qing,Li Tianyuan,Li Zhanyang,Liang Shuo,Lu Hao,Lu Zhengyuan,Ma Liuming,Miao Xiaochun,Song Yonghong,Song Yongping,Xiang Jing,Yang Shaobin,Zhan Wang,Zhang Xiaotao,Zhao Nengzhi,Zhuang Hui

CURATOR: Duan Jun

PRESENTED BY: Sun Yongzeng

ASSISTANT CURATOR: Xie Jinyuan，Lin Tao

PROJECT COOPERATION：Liu Chenya,Wu Ling

ORGANIZER: White Box Museum Of Art

OPENING: Sunday , September 9, 2012, 4p.m.

DATES: September 9, 2012 –October 7, 2012

MUSEUM OPENING HOURS: 10:00 - 18:00, Tuesday - Sunday

VENUE: WHITE BOX MUSEUM OF ART, 798 Art Dist., NO.2 Jiu Xianqiao Road, Chaoyang Dist., Beijing, China

FOR MORE INFORMATION PLEASE VISIT OUR WEBSITE: www.798whitebox.com

Curator Article

Magnanimity - Collection of Atypical Works by 21 Chinese Artists

CURATOR:DUAN JUN

Art critics Robert Hughes who recently passed away in August 2012 said: “During the technology development from the steam age to the electrical age, the feeling of acceleration in all the aspects of human discourses including art appeared. From now on, under the pressure from new experience and the requirement raised from using new forms to include new experience, convention no longer applies, and formal knowledge no longer stays unchanged.”The acceleration in Chinese contemporary society has brought huge pressure to human discourses including art. That propels artists to innovate historically and personally, so that contemporary art can include new experience and concepts.

Magnanimity - Collection of Atypical Works by 21 Chinese Artistsare all renowned artists who are active in Chinese contemporary art world, which including veteran artists who have worked in art for more than twenty years, and also new stars who is rising in the recent period. They tried to choose their non-representative pieces of works, which are relatively unfamiliar for viewers, or even immature ones that has never been seen before.In terms of media, there includes painting, photography, sculpture, video, installation, behavior, audio, and also conceptual works integrated in these media. In terms of creation period, it is from the earliest Song Yonghong’s work on paper made in 1989, to the latest works that several artists created especially for this exhibition.

Artist:

Lu Hao

Jin Jiangbo

Jiao Yingqi

Jiang Zhi

Cui Xiuwen