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Opening: 2019.9.22 4:00 pm.
Duration: 2019.9.22 - 10.29
Artists: Fang Lijun | Jiang Shuo | Shi Jinsong | Shen Yue | Wu Shaoxiang | Yang Guang | Zhan Wang | Zhang Wei
Organizer: Linda Gallery（Beijing）
- FOREWORD -
Contemporary art emphasizes the free expression of personal feelings. In principle, it canuse all kinds of ancient and modern art methods, including crafts, technology, and even exploring many other possibilities. The key is how totransform inner thoughts into "individual” product and express the bestin the most appropriate language getting it original and with a personal touch.
Thisexhibition wants to explore the issue of transforming Chinese traditionalcrafts into contemporary art language.
Western traditional art history separates art fromcrafts, art isadvanced, and crafts are regarded in low esteem. A feminist artist in the 1960s and 70s broke this concept. Because, even in the entire history of Western modernism, “decoration and craftwork” has always been regarded as a woman’s work. This “Low Art” is always separated from the “High Art” with a noble, ethical and spiritual meaning. As a feminist strategy and breakthrough, some feminist artists deliberately use female red (such asknitting, weaving, sewing, embroidering) to make works, many of which have been written in art history, but fundamentally, the concept of “low-level” is still ingrained, so Western contemporary artists who dare to use craftwork to make their work are rare.
There are many traditional Chinese art methods, and there are basically three main parts, the literati, the folk, and the craft. Different from the West, in the Chinese concept, these three departments are like three old peoplewith different personalities. They are not only well educated but also close. In the long history, the three major departments have formed their own peaks, and the three major departments have adelicate and complex integration and infiltration in various ways, just like neighbours canoften collaborate in festivity.
Thereare advantages and disadvantages in the samedepartment, but the three ones are equal. Although literati and craftsmen havedifferent social identities, there is no deliberate inequality in specific exchanges, inquiry and mutual learning.
Therefore, there is hardlya psychological barrier for Chinese artists to transform their craftsmanship into their works, and the use of technology is also logically settled in the feelings and expressions of the works. With artistic appeals, they give traditional craftsmanship a personal, creative semantic (new path), and a technical breakthrough is the expansion of artistic language.