Yi Pai - Century Thinking at Today Art Museum
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[楼主] art-pa-pa 2009-06-05 16:21:09

Yi Pai - Century Thinking at Today Art Museum

Until June 22
Today Art Museum
32 Baiziwan Road

text source: Redbox Review

Yi Pai- Century Thinking” is a highly intellectualized themed exhibition curated by Gao Minglu at the Today Art Museum showcasing painting, sculpture, installation, architecture, video, and other works by over thirty Chinese artists, including Hong Kong and Taiwan. Yi Pi ( 意派 ) is “a subversive theory against representation, is a new way of thinking, the one transcending realism, modernism, and postmodern conceptualism.” This theory describes the intersection of three spheres: people, objects and places; a theory that reinforces a Chinese sense of confidence and national pride. It also refers to the idea of “He Xie” ( 和谐 ) meaning, “harmony”. This word alone alludes propagandist nature that veils violent ideas to revolutionize information dissemination. Art and visual representation is a tool for changing ideas. Through a series of academic discussions and the visual result of the exhibition, the exhibition aims to represent a battle of ideas, to inspire an advanced level of thinking that derives from Chinese critical theory and thus build confidence for both the creative and contemporary community.

RedBox Review // Jun 2, 2009 at 11:28 pm

The exhibition at Today Art
Museum followed a series of heated symposium discussions at
CAFA last week. Curator Gao Minglu and other art academics discuss issues related to his attempt to adapt the literary theory “Yi Pai” to describe an art movement that is specific to Chinese culture. Basically, art is a product of collective thought, not individualism. Yi Pai is the intersection of people, places and objects, whereas he describes Western theory to be about the conflict of just people and objects.

The exhibition includes works created by Chinese artists in the last three decades, presenting large scale installation sculptures, a few videos, a noticeable number of ink paintings and an equally noticeable complete lack of signature styled works that have become associated with Chinese contemporary art since its emergence on the international
scene. The works collectively are dark and earthy in visual tone, are highly conceptual often featuring abstract content and demand further
investigation to the artist’s intent and curator’s selection. These initial observations present an immediate contrast to the visual aesthetics of other artists commonly associated with contemporary Chinese art as viewed from abroad. The title cards of each work are
also inconveniently located just above the ground or away from the art forcing viewers to really look at the work itself before awkwardly
bend over to the ground to barely read the artist name and title. This is a particularly refreshing display of art in the context of contemporary art in China, indicating that an art viewing audience
embraces the ambitious attempt to utilize critical theory and academic thinking to consider the production of art.

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