Seeking Reality: Pragmatism and Virtuality

Artists: Liu Chuanhong, Liu Yang, Qiu Hongfeng, Sun Ce, Xue Zhijun, Yu Aijun

 

Curator : Yu Aijun

Obviously, the main subjects of the works of these artists are all related to ¡°ruins,¡± and this is probably attributed to their geographical locations, educational backgrounds, and personal characters and dispositions. ¡°Ruins¡± were not just reality of their previous lives, but seem to also reflect their souls and embody an emotion that would die hard. Then, why did the artists living in comfort choose such a way of visual narration with a ¡°non-delicate¡± tendency? This is in fact not a paradox. The industrial civilization destroyed natural landscapes, and boundless forests were ousted by rows upon rows of skyscrapers; hence the appearance of ruins. Ruins are human¡¯s certain definition of the existents according to pragmatic logic. In the psychology of artists, they may turn into visual appeals for vastness, profoundness, heaviness, or depression. Examples are nearly all the works of German artist Anselm Kiefer and some works of G ? Helnwein. Then comes the following question: Can Chinese artists surmount such a definition and interpret the so-called ¡°Ruins Aesthetics¡± in an artistic approach with a feature of ¡°discovery¡±? In the contemporary China, in which artistic assets are gradually replacing aesthetical standards, is there any contemplable ¡°by-stroke¡± existing beyond POP Art, Concept Art, and New Media Art? In my perspective, audiences to this exhibition will find answer.

¡°Pragmatism¡± and ¡°Virtuality¡± are the general language tendency of these exhibits, and meanwhile, they are also two passages that reflect the works¡¯ power, which intercross with each other and finally reach the same goal. ¡°Pragmatism¡± conveys an implication of seeking truth, and gives a new interpretation of ¡°realistic painting¡± by integrating personal, but not traditional, artistic languages. ¡°Virtuality¡± comes from reality and end into illusion, as a spiritual quality presented by the works. It does not believe, and even repels, the power of symbols. We would say that the serious practices of the artists in a ¡°non-production¡± status ¡ª a status for conceiving scholarly works ¡ª have enriched the creation modes of modern art.