 i Yun——The International Round Exhibition of Eight Artists’ Chinese Abstract Art” curated by Huangzhuan will be beld at OCT Contemporary Art Terminal, Shenzhen on June 1, 2007.The exhibition will tour Beijing ,Hongkong, as well as U.S. later.
There appeared in art history two types of elite liberalism: One is the ancient Chinese theory of “qi-yun”, another is the concept of “avant-garde” expounded by the American art critic Clement Greenberg. They seem to have absolutely nothing to do with each other, but they do provide us with a theoretical reference that is fit for us to make an observation of the Chinese abstract art.
Chinese abstract art is agreed to the value of the liberalism as well as the elite stand, at the same time it has to look for its spiritual resources in native culture so as to rebuild a style and an introspective understanding of the “liberalism in art.” It’s a try to establish an identity of its own in the history of contemporary Chinese art, therefore we can regard this trend as a new development of the term “qi-yun”.
Most of these artists have practical knowledge in both Oriental and Occidental culture, especially the ability to think about cultural problems and the ability to search for personal expression. At the same time, almost every one of them has received very strict training in realistic depiction. Though they have different reasons and approaches to abstract art, they share the same aesthetic logic in their choice of search for free expression and thoroughly understanding in innermost being. From the free relationship between the mind and the mood of the Daoism, Qiu Shi-hua understands the meaning of vacant time and space; as for Li Hua-sheng, he draws something from the traditional Chinese landscape to develop the value of temperament by writing repeatedly. Wang Chuan benefits considerably from the great abstract expressionists like William De Kooning and Robert Motherwell, etc. His creation, after going through a life-and-death struggle, has turned to be quiet, unconventional and even elegant. Shen Chen is looking for the implication of freedom by fusing the abstract language of the West with the free and natural state of the East. Yang Zhi-hong, despite of his mastery of the essence of the American abstract expressionism, and his deep understanding of the Chinese natural symbolism and the tradition of mysticism, still makes his work full of oriental atmosphere. As a representative of Chinese “experimental ink painting”, Liu Zi-jian’s “black painting“ is in terms of its spirit very much like the free and unfettered journey of the modern version. Because of her indulgence in modern French formalism, Zhou Li’s art seems especially to be intelligent and transparent. Her identity as an oriental female can only be explained by the elegant and sensitive quality of her work. Lin Yan’s art originally comes from the concept art of “minimalism”; she uses the Oriental media of the (xuan) paper and the ink to enrich the “minimalism” with greater cultural dimensions.
Contemporary Chinese abstract art contains the above-mentioned traditions of liberalism, its “avant-garde” is often reflected by the languages they borrowed from the Western-styled abstraction, and even their elite stand for liberalism expressed through the abstract art, and their approval and understanding of the individualism in the tradition of their native culture.
(Translated by Sun Yuanyuan)
Liu Zijian, “A Star Named after Liu Zijian 3”, 2004, Ink, xuan paper, 86×136cm
Lin Yan, “To Beijing 07 Ⅲ”, 2007, Ink, xuan paper, 86×66cm
Qiu Shihua, “Untitled”, 2003, Oil on canvas, 152×189cm
Li Huansheng, “Wake Up”, 1994, Ink, xuan paper, 123.3×203.3cm
Wang Chuan, “Tidal Surge of Emotion No.2”, 2006, Oil on canvas, 140×200cm
Yang Shihong, “In Between Ⅱ”, 2005, Acrylic on canvas, 183×122cm
Zhou Li, “Untitled”, 2001, Synthetic materials, 178×178cm
Shen Chen, “Untitled No. 8008-06”, 2006, Acrylic on canvas, 162.5×244cm
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