In the situation that contemporary art in 21st century has been developed and spilt in depth, many contemporary artists still utilize and enjoy painting, which is an ancient art form. Their works offer lively samples continuously for disparate people and fields. How to understand that painting still has great vigor during the era of imagination explosion?
The speech is a genealogical survey of what the school of participatory art has gone through in its 150 years’ history. It traces back to the ideals of Richard Wagner in his anticipation of future works of art, the political accelerations of the futurists and surrealists, the radical political resistance of the 1960s and the occupation movements in these times. Two case studies shall be done to map its influence in the practice of contemporary art.
Since calligraphic master Mi Fu’s Four-letter stone Appreciating View of “Shou (thin), Tou (transparent), Zhou (wrinkled) and Lou (leaking)” has become a numb doctrine, learning about the foundation and cultural connotation of Chinese landscape meets the need of exploration of cultural hereditary behind the stone and mountain usage in classical Chinese garden, in the meantime, the two-way appreciating view between stone and mountain contributes to the exploration as well.
Contemporary jewellery artist Li Liang has strong impact of Chinese fine classical paintings and calligraphy since she was a little. She used lines to create forms and place my feelings of nature. For her, the Chinese calligraphy gives the lines diverse visual possible and spiritual power. This power has been leading her artistic expression, building imagination.
Starting from the three abstracts “Masquerade of identities”,” A sensibility to nothingness”, “Beckett’s walk”, Prof. Jiang Yuhui will articulate more from his research.
