As one of the most academic exhibitions in the art week, “To Dunhuang: Echo of Civilization” devoted itself to exploring the impact of traditional art on contemporary creations.
This exhibition belongs to the series of “2016 International Art Collection and Donation Exhibition of National Art Museum of China”, which would display about 200 creations of the artist to show his achievements in sculpture and painting.
Under the artist’s remodeling of the spaces, five types of handheld lamps and flashlights that function as projection devices transform the twenty-two built-in concrete pillars in the venue into reflective conduits of the videos, and the labyrinth-like makeshift walls separate these pillars.
It is a tacit knowledge among artists that they can adjust their artistic concepts or slogans to their convenience. They can, moreover, choose whatever media they like instead of sticking to any, so now the
practice of addressing an artist with a single medium as prefix is totally out of date.
The art of Jiang Ji’an can be summarized as a representation of the the reproduction system itself, and the way of reproduction is reproduced as the content. From the beginning of the 1990s, his artistic practice has been extended to the present, but at every stage the problem of “reproduction”...
Tang Hui is a person who likes to observe the details, if he is surrounded by the environment that is full of details, he will be too excited and go crazy, he enjoys the pleasure...
The project looks for the most vibrant, stimulating modes of thinking and expression today, while at the same time striving equally to examine the edgiest, most pressing of topics at present.
Xu Longsen’s powerful shanshui (ink-and-brush landscape) paintings are composed from an inimitable blending of traditional and contemporary aesthetics.
This exhibition does not only cover the experimental ink and wash work by Gu Wenda based on his individual creations, but it also showcases his art projects under the patterns of new artistic production and consumption in the context of new economy.
Whatever fields they are engaged in, students who receive such training will be equipped with the capability to penetrate, to include, and to digest various cultural phenomena as well as a skill to execute the ideas.
Wang Haiyang (b. 1984, Shandong) combines the twinned forms of painting and animation to expand the rhetorical scope of these two media. Shortly after graduating from the printmaking department of the Central Academy of Fine Arts, he began to create psychologically charged animated sequences, playing on unlikely formal connections among disparate elements.
From a macro point of view, Yin’s landscape paintings contain the nostalgia for the essence of a country and paintings in mind. They evoke the sense and reflection of national and art history.