Talk: On the Theories of the 21st Century Ink Painting
Jul 27, 2014 Sunday 14:00 - 16:00
2F Y.W.C.A Building (Shanghai 133 Yuanmingyuan Road)
In this lecture, the speaker intends to classify the three stages in the “ink painting debates” since the Cultural Revolution. In the 1980s, Li Xiaoshan’s idea that Chinese ink painting was at a dead end was in fact an extension of the May 4th (New Culture) framework of criticism. Then in the mid-1990s, the experimental and eclectic theories (by Pi Daojian and Lang Shaojun respectively) established from an essentialist perspective in fact served as answers to the issue raised by Li Xiaoshan, through the fusion of Chinese ink painting and modern formalism. Finally, starting from 2010, a concept of “New Ink Painting” or “Chinese Contemporary Ink” has developed with the market resources accompanied by capital.
This speaker will further analyze the limitations of the “New Ink Painting” theory in China since 2012, pointing out how the new theory is merely a selective elaboration of the theories from the first two stages. The real motivation behind comes from changes in the market after the financial crisis and a strong intervention from auction houses. It is a typical example of how the market changes theories. Finally, this talk will discuss about the possibilities of establishing a new theoretical structure for the New Ink.
Pi Li holds a PhD in Art History; he once taught in Bejing’s Central Academy of Fine Arts, and is now Senior Curator at M+, Museum for Visual Culture, West Kowloon Cultural District, Hong Kong. He was a jury member in the selection of BMW Art Car, an art consultant of Tate Collection Asia-Pacific Contemporary, the curator of Artist Pension Trust Asia-Pacific, the curator of Phaidon 2006 CREAM 4 publishing program, the curator of 2006 Media Art Biennale in Seoul, a jury member of China Contemporary Art Prize 2008 and the Asian consultant of UBS Art Collection.
Free admission, reservation is required.