ArtSlant - Recently added en-us 40 Nadav Kander - Blindspot Gallery - May 10th - July 19th <p>Blindspot Gallery is delighted to present London based, Israel born photographer Nadav Kander's first solo exhibition in Hong Kong, &ldquo;Curves of Moon and Rivers of Blue&rdquo;, co-curated by Tamar Arnon and Eli Zagury. The exhibition opens on the eve of Art Basel Hong Kong 2014.</p> Fri, 18 Apr 2014 00:12:30 +0000 David Smith - Amelia Johnson Contemporary - April 23rd - May 9th <p>David Smith&rsquo;s paintings explore the elements of space, light, scale and material through a restricted format.&nbsp;Elemental subjects are often&nbsp;isolated, cropped or in transition. These provide a fulcrum around&nbsp;which changeable environmental conditions like light, weather or&nbsp;pollution can play. A vast and mysterious space displayed through&nbsp;a small and intimate scale.</p> <p>The processes involved are central to the work. The approach is&nbsp;often fluid and adaptable, employing washes and the chemical&nbsp;qualities of oil to disrupt, dissolve, shroud or partly erase the paint&nbsp;surface. This facilitation sets the stage for a flexible outcome. The&nbsp;small scale of the paintings is a deliberate attempt to depict vast,&nbsp;elusive spaces on an intimate scale. Simple compositional design,&nbsp;coupled with minimal, often neutralised colour and the unyielding&nbsp;surface of solid plywood panels, allow the paintings to grow and&nbsp;inhabit more space than their size suggests.</p> Fri, 18 Apr 2014 00:03:51 +0000 Edward Burtynsky - Sundaram Tagore Gallery - Hong Kong - May 9th - June 21st <p>Canadian photographer Edward Burtynsky presents new color photographs from <em>Water</em>, his most recent series, in a major solo exhibition.<br /> <br /> Edward Burtynsky is known worldwide for his arresting images of industrial landscapes. The <em>Water</em> series, begun in 2007, his largest and most ambitious project to date, documents the scale and impact of manufacturing and human consumption on the world&rsquo;s water supplies.

<br /> <br /> In order to produce this vast body of work, Burtynsky traveled the world. He chronicles the monumental dams on China&rsquo;s Yangtze River; ancient stepwells in India; dramatic deforestation and erosion in Iceland; and desertification of the once vital Colorado River Delta in Mexico. He shows, in stunning color and intricate detail, how human interference is depleting this precious resource. 

<br /> <br /> Edward Burtynsky&rsquo;s works are in the collections of more than fifty museums worldwide, including the Museum of Modern Art and the Solomon R. Guggenheim Museum, New York; Biblioth&egrave;que Nationale, Paris; The Photographer&rsquo;s Gallery and the Victoria and Albert Museum, London; and Albright-Knox Art Gallery, Buffalo, New York.

<br /> <br /> Edward Burtynsky holds six honorary doctorate degrees and was recognized with a TED award in 2005. In 2006 he was named an Officer of the Order of Canada, the nation&rsquo;s highest civilian honor. His distinctions include the National Magazine Award, the MOCCA Award, the Outreach Award at the Rencontres d&rsquo;Arles and the Applied Arts Magazine book award.

<br /> <br /> In 2007, Burtynsky was the subject of the award-winning documentary <em>Manufactured Landscapes</em>, which screened at the Sundance Film Festival. Burtynsky&rsquo;s new film, <em>Watermark</em>, which he made in conjunction with award-winning filmmakers Jennifer Baichwal and Nick de Pencier, premiered at the 2013 Toronto International Film Festival.

<br /> <br /> In conjunction with this exhibition, Asia Society Hong Kong will host a screening of <em>Watermark</em> on Saturday, May 10, at 6:30 pm. The film follows the artist as he shoots the images that form the Water series. Edward Burtynsky will be on hand for the screening and will answer audience questions. Details and ticket information are available on the Asia Society website.<br /> <br /> The photographs in this show were recently published in the book titled <em>Water</em> by the German publishing house Steidl.

</p> Thu, 17 Apr 2014 23:57:22 +0000 - Hong Kong Heritage Museum - June 7th - September 15th <p>The exhibition <em>The Extraordinary in the Ordinary: Chairs for Viewing the World through Time</em> offers a global perspective on chairs and explores the position that this everyday utilitarian object has held in people&rsquo;s lives throughout the ages.<br /><br /> Valuable exhibits from the collections of museums around the world will be put on display for the first time in Hong Kong and will include some chairs that are ancient and rare, some that belonged to emperors and nobles and others that were used by the common people, while chairs designed for specific functions and trades, and special chairs for men, women, children and the elderly will also be showcased. Visitors will find much to arouse their curiosity among the rich variety of topics that the exhibition encompasses: the evolution of chairs; chairs as symbols of authority and status; chairs and their relationship to everyday life in areas such as food, clothing, transport and social activities; the role of chairs in religion and beliefs and their associations with people&rsquo;s values; chairs and political, economic and cultural exchanges. Chairs reflecting the people and life of Hong Kong during the old days will also be exhibited, including chairs for village ceremonies and temple rituals, an exquisitely decorated bridal sedan chair for a traditional wedding and a chair from a bygone barber&rsquo;s shop. The stories provided by this exhibition about chairs will inspire visitors and stimulate their interest in the history, culture and art of the world.</p> Thu, 17 Apr 2014 23:42:05 +0000 Isao Takahata, Hayao Miyazaki - Hong Kong Heritage Museum - May 14th - August 31st <p>Studio Ghibli was founded in 1985 by renowned animation directors Isao Takahata and Hayao Miyazaki. The Ghibli&rsquo;s animation films have been well received by worldwide audience, have won awards in various international film festivals and become a beloved part of popular culture.<br /><br /> As opposed to the widely used digital technology in arts nowadays, Takahata and Miyazaki insisted on producing their animation films basically by the traditional method of hand-drawn animation. This exhibition comprises over 1,300 items of layout design selected from works by Isao Takahata and Hayao Miyazaki throughout their careers. A layout, being regarded as the blueprint of an animation film, is used to illustrate the director&rsquo;s ideas on the outlook of the scenes, including the arrangement of colors, positions, motions, etc. for subsequent production to ensure the continuity, In this exhibition, the whole history of Studio Ghibli layout production will be on display, ranging from <em>Nausicaa of the Valley of the Wind</em> to the latest released <em>The Wind Rises</em> and <em>The Tale of The Princess Kaguya</em>. Exhibits are drawn from the company&rsquo;s popular major works including <em>Castle in the Sky</em>, <em>My Neighbor Totoro</em>, <em>Grave of the Fireflies</em>, <em>Kiki&rsquo;s Delivery Service</em>, <em>Princess Mononoke</em>, <em>Spirited Away</em>, <em>Ponyo on the Cliff by the Sea</em>. Layouts from the early works and TV series produced before the founding of the company such as <em>Heidi a girl of the Alps and Conan</em>, <em>The Boy in Future</em> are also featured for a comprehensive view of their achievement.<br /><br /> Through these layout designs visitors can come to a better understanding of the production process of animation films. In addition, the layouts can also be appreciated individually as works of fine art. It is also an opportunity to rethink the classical notion of animation-making, as well as the pursuit of excellence and variety in the language of aesthetics in Japanese culture.</p> Thu, 17 Apr 2014 23:36:54 +0000 WU MINGZHONG - Xin Dong Cheng Space for Contemporary Art - April 26th - April 26th Wed, 16 Apr 2014 05:33:09 +0000 Shang Chengxiang - Space Station - April 12th - May 11th <p align="justify">The Space Station is about to present you the second solo exhibition of Cloud Atlas of the artist Shang Chengxiang on April 12th, 2014. The exhibition lasts until May 11th.</p> <p align="justify">The year 2013 has seen many &ldquo;clouds&rdquo; as well as &ldquo;palm-trees&rdquo; in Shang&rsquo;s works, the recurrent images in his dream of a certain period. Grown up in the northeastern China, he has not seen much of a palm forest; yet he dreamt that those colourful trees swayed in the breeze and he weaved through those treetops. At that time he found it very hard to sober up every day, which felt like there was always a cloud haunting at the bedside, much like those depicted in the painting Start from the Fog. Thus we have the works from 2013 till the present.</p> <p align="justify">Shang&rsquo;s predilection is not limited from the early &ldquo;glass pieces&rdquo;, &ldquo;rocket booster&rdquo;, &ldquo;bombed house&rdquo;, to the recent &ldquo;deer with snapped antlers&rdquo;, &ldquo;masked goat&rdquo; and &ldquo;lost zebra&rdquo;, etc. He likes it more to delineate those unfamiliar, strange and remote. Reality and fantasy in his works appear one after another; animals and human beings often exchange identities, making us rethink ourselves as human beings from the perspectives of the animals.</p> <p align="justify">Shang always depicts some &ldquo;unrealistic&rdquo; scene by using large size canvas, like in Unescapable Dream, the wreckage of a damaged ship appears in a vast expanse of cornfield, and kids are strapped by plastic bags and toy horses; Your Face describes a stranded whale wrecked by the oars, and a little girl wants to control or stroke it; Horror Series portrays docile animals, whose eyes and the bits are gleaming with ferocious emotions as well as the strength to rebel. These powers can be either long neglected, or constantly gathered. Shang carefully conceals these details, making them like a timer of a bomb, urging you to discover all the unusualness within the countdown.</p> <p align="justify">A most significant question, however, is who the protagonists of his works are. This means that the spectators are placed in different locations, with some gazing on the animals, and some besieged by the atmosphere created by the paintings. That is to say, Shang intends to narrate a quasi-circular story, in which he lets the viewers to discover, as if the depicted scene is pregnant with inexhaustible meanings: the beginning is also the end; the portion is also the whole.</p> <p align="justify">Just when you think you have seen the light, Shang explains all these as two separate but closely related selves. It is said that he often fails to distinguish reality and truth, as the aforementioned that he cannot tell whether he is in dreams or reality in the daytime. For instance, in Partake of the Feast, where three goats of different appearances represent several different types of person; it is hard to tell who is the most dangerous, for they are either masqueraded or fierce or submissive, but these are only the appearances: maybe the best mask is without mask. The meat in the painting represents the interests, and those blooming flowers at the background suggest these three goats are to partake of the feast in such a flowery environment.</p> <p align="justify">If we disregard all those literary metaphors, what Shang aims to express still remain. This shows that his way of constructing the work is still conventional and purely visual, which is different from most contemporary artists who rely on the hermeneutics of texts and notions. If we go on to strip off those props on the aforementioned animals, you will find, as a spectator, that those eyes also reveal human nature.</p> <p align="justify">This is a story about solitude and conflict, reality and emotions. Even if we do not tell it, Shang, at the very beginning has limited our sights within a perceivable scope, so accurate that what we are facing and our inner choice are standing in sharp conflict. Good news is that the scope does not produce much loneliness, but just a world of me and another me. In fact, this is a state void of the real and the outside world, and also the very way through which we walk into our inside world, and those &ldquo;clouds&rdquo; are the doors and windows to enter from. Rid of the omnipotent reality that seems to have all the word under control, we obtain our own freedom. On the other hand, those spiritual symbols in the painting may be just the murmur between the two selves. Reality and fantasy, solitude and conflict undergo ups and downs like the waves in our life journey; but orders seem to have always existed governing these chaos, and occasionally disrupting our excessive imaginations which, more interestingly, we also need in our pursuit of the truth and self-balancing. This seems to be a de-fantasized or de-rationalized process; and in the end, the virtual world in the painting converges with our perceivable world, where the real feelings and inspirations spring up for some time and are quickly washed away by the tides of thoughts.</p> Wed, 16 Apr 2014 05:25:46 +0000 陈燕飞, 朱敬一, 宋涛 - Shanghai Duolun Museum of Modern Art (Doland Art Museum) - April 20th - May 2nd <p>2014年4月20日,&ldquo;三维的墨&mdash;当代水墨三人展&rdquo;将在上海多伦现代美术馆隆重开幕。本次展览由四位来自不同领域的创作者携手参展:璞素家居创办人陈燕飞、当代艺术家朱敬一、自造社创始人宋涛。<br /><br />  三位创作者以浸染多年的中国传统文化为根基,分别从各自不同的思维角度重新诠释了&ldquo;墨&rdquo;的多维度的可能性。<br /><br />  陈燕飞:受日本现代书法影响开始书法的现代变革,建立起一套古典与现代相融合的审美观。他将传统书法,抽象绘画,以及对创作环境的理解融合为一体,创作出颇具现代感的书法作品。<br /><br />  朱敬一:迷恋中国古代线描,他以&ldquo;线&rdquo;为工具,将二维平面的水墨、三维立体的结构,以及中国古典神话式的妖怪形象,纳入同一个语境中,创作出立体化的水墨作品。<br /><br />  宋涛:经历了中西文化两方面的浸淫和比较, 反而让他对中国传统文化有了更深的理解。以从法国留学回国为分界点,1994 年之后,他的作品中加入了对第三维度&mdash;&mdash;时间的思考。<br /><br />  四位艺术家试将通过本次展览共同发起各界观者对当代水墨在时空象限上的存在形式与存在意义的再度思考。</p> Wed, 16 Apr 2014 05:21:37 +0000 Hung Fai - GROTTO Fine Art - April 23rd - May 10th <p><span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;"><span style="font-size: small;">Grotto Fine Art takes pleasure to present <em>Movement, </em>the first one-man exhibition of Hong Kong artist Hung Fai. Inspired by Chinese ink tradition, Hung mediates his aesthetics with contemporary and fundamental elements. His new series <em>Splash </em>and <em>Wild Grass </em> shed new light on the usage of materials, methods and conceptualization in contemporary ink painting.</span> </span></span></p> Mon, 21 Apr 2014 02:37:27 +0000 Li Shurui - WHITE SPACE BEIJING - April 26th - June 4th Wed, 16 Apr 2014 05:01:00 +0000 Zou Qionghui - Today Art Museum (TAM) - May 25th - June 3rd <p>From beginning to the end, the Cicadas existed in Zou Qionghui&rsquo;s art works as a symbol of life, and then established the meaning of her works as a cue. To be one kind of the insects, cicada has its unique pattern of lifecycle: the larva of cicada has to go through a miraculous ecdysis, it will &ldquo;walks out&rdquo; of its body, and leaves its outer form alone. The artist was awakened by the continuity and rebirth of its lifecycle, she collected amounts of cicadas to create her installation art works, and the cicadas turned into a visual symbol of her abstract art, implied the human life metaphorically. Every year, people spend the summer at leisure with chirping of cicadas, and the Chinese poets always put the cicadas in their poems: &ldquo;the forest is more peaceful while cicadas are chirping, the mountain is more secluded while the birds are singing&rdquo;(by Wang Ji), and &ldquo;the summer on the past is hasten on by the cicadas, the autumn on the new is bring on by the wild goose&rdquo; (by Bai Juyi). The art of Zou Qionghui brings the audience to the ancient poetic realm, and furthermore, it brings art into a new cultural construction by new conception, new schema, and new materials.</p> Wed, 16 Apr 2014 04:48:51 +0000 Ma Xiaoteng - Today Art Museum (TAM) - May 17th - May 27th <div class="text" style="height: 420px;"> <div class="inner"> <div>The artist demonstrated his own artistic judgment and views on value through finding a personalized linguistic system and possibility, in order to respond to diversified contexts. Ma Xiaoteng, born in Beijing in 1967, graduated and taught in No. 2 Studio of the Department of Oil Painting, CAFA. From his concentration on historical and humanistic spirit in his graduation work The Death of Lu Xun to his demonstration of expressionistic mental structure through figure paintings with the characteristics of language imitation, Ma Xiaoteng, as a Chinese artist, kept questioning how to reflect on the ever-increasing material and cultural life with the diversified spiritual contexts developed in the container of consciousness--art. The interpretation of historical and cultural themes, together with the exploration into expressionistic language, jointly help him in defining and clarifying his own cultural identity and pursuit, as well as finding a personalized way of painting expression in a time featuring increasingly weakened awareness of region and independence of culture.&nbsp;</div> <div>&nbsp;</div> <div>At the beginning of 2007, he set out with his &ldquo;Memory Review&rdquo; series. The serial works neither focus on the collective or popular life style, nor concentrate on political reality. With the landscapes of Beijing from 1970s to 1980s as the narrative carrier, the series combines memory, images and paintings, in order to fulfill a visual research through depicting his confusion, pressure, anxiety and even hurt during the period, with his cognition, resources and methods available in the era. As for the way of expression, he turned to the languages prevailing in traditional ruler painting and new year painting. With colors similar to folk characteristics, he weakened the structure through Ping Tu (even or plain painting), as if he was exploring and studying on Chinese way of painting.&nbsp;</div> <div>&nbsp;</div> <div>Actually it is a matter of opinion what experience should be selected from the logic of visual culture popular in Chinese society. It can be said that Ma Xiaoteng, under the title of &ldquo;review,&rdquo; is contemplating over memory and history as an individual, and focusing on topics of sex and power, individual identity and social identification, re-decoration of history with visual observation and expression. Through micro perspective and narrative structure developed by personal visual and conceptual changes, the mental narrations occurred in specific spaces expressed the concerns over the breaking and mending of the link running across Chinese culture.&nbsp;</div> <div>   </div> <div>Tang Yu</div> </div> </div> Wed, 16 Apr 2014 04:45:16 +0000 Wang Tiande - Today Art Museum (TAM) - May 5th - May 26th <div class="text" style="height: auto;"> <div class="inner"> <div>Burned marks, landscapes and calligraphy transcend time and space. Digital, ink and stelae construct a field for conversation. Today Art Museum sincerely presents Kai Men &ndash; Wang Tiande&rsquo;s Solo Exhibition, a most important exhibition this year devoted to contemporary ink art experiments in China.</div> <div>&nbsp;</div> <div>As a practitioner of contemporary ink art, Wang Tiande is never bounded by his solid knowledge of traditional literati paintings. Wang cognizes ink art as both paintings and an analogous relief, as is reflected in the previous series of &ldquo;Chinese Fan&rdquo;, &ldquo;Shu Ma Gong Neng Biao&rdquo;, &ldquo;Chinese Garment&rdquo;, &ldquo;Gu Shan&rdquo; and &ldquo;Digital Series&rdquo;. In his &ldquo;Digital Series&rdquo;, Wang writes with joss sticks instead of brushes. Thus creating a negative space implied by the burned marks which also complicates the spatial relationship. Usually the burned Chinese characters are placed on top of a layer of traditional calligraphy and landscape. Through the negative space, handwriting or rubbings hidden in the background are unveiled. Moreover, the incomplete forms of the burned Chinese characters remind us of the historical and natural erosions. It also breaks away from the customary method of creating calligraphy and landscape, forming a signature visual language of Wang. In his experiments of ink and mixed-media art, the artist explores the end of writing and re-production intentionally and unconsciously. It is an evolutionism of art he is devoted to.</div> </div> </div> Wed, 16 Apr 2014 04:42:07 +0000 Kuo Wei-Kuo, Lu Hsien-Ming - Today Art Museum (TAM) - April 26th - May 8th <div class="text" style="height: 483px;"> <div class="inner"> <div>Beijing's Today Art Museum will concurrently exhibit the work of painters Kuo Wei-kuo and Lu Hsien-ming for the first time from April 26 to May 8, 2014. Curated by Cui Cancan with support from the Lin and Lin Gallery and in close coordination with the artists, these large-scale exhibitions occupying the Museum's Exhibition Hall 2 will focus on significant works completed by Kuo and Lu from the 1980s to the present. To accompany both artists' first solo exhibition in Mainland China, extensive catalogs will be published.</div> <div>&nbsp;</div> <div>Significant evolution in the contemporary art of Taiwan has taken place since the 1980s when martial law on the island ended. During this period of accelerated growth, Kuo and Lu emerged as representative artists, and their work as testimony to trends at that time. Both artists, from their involvement in the establishment of the Taipei School of Painting in the 1980s to the still active Hantoo Art Group, have always been on the leading edge of contemporary painting in Taiwan, and like their contemporaries, have carried forth western painting traditions. They not only thoroughly grasp the style and vocabulary of western art, but also remain cognizant of their own tradition, and have always consciously related these eastern and western elements to Taiwanese society, their cultural context and history, while maintaining liberated, experimental attitudes toward form and content.</div> <div>&nbsp;</div> <div>Over the last thirty years, the works of Kuo and Lu have born witness to cultural trends and social developments in Taiwan. Kuo starts from the individual&rsquo;s interaction with the real world, proceeds to alignment of his imagination with reality, and uses visual strategies to restore possibility and complexity. Taking transformations in urban landscapes as his theme, Lu has consistently focused on Taipei's relationship with individuals and communities, and through experimentation and expansion of art forms, bears witness to fluctuations in this modern city.</div> <div>&nbsp;</div> <div>Rather than organizing works in chronological order, the exhibitions present the artists in separate sections of the venue, and each section is further divided based on different themes to highlight each artist's relationship to Taiwanese culture.</div> <div>&nbsp;</div> <div>Exhibition organizers have brought together each artist's most important works, and presents them in thematic groups set by the artists. The hope is to guide viewers in their understanding of Taiwan's recent history and social issues. By reexamining perceptions of this unique island, we hope to encourage a cultural dialog between Taiwan and Mainland China. At Today, the world can share in this moment.&nbsp;</div> </div> </div> Wed, 16 Apr 2014 04:39:17 +0000 Du Haijun - Today Art Museum (TAM) - April 25th - May 6th <div class="text" style="height: 441px;"> <div class="inner"> <div>Contemporary China has a strong sense of modernity that also started in its cities. A city signifies a great many modern contradictions: single, crowded, busy repetitious. One who lives in a city for a long time gradually adapts to these unique urban features, but there are also a few who do not adapt, who do not react to these urban features, and Du Haijun is one of them. He grew up during the time of China&rsquo;s rapid urbanization; he is completely aware of the rapid growth in China&rsquo;s cities; and he made the profound discovery that in cities life structures are joined together completely differently than in other places.&nbsp;</div> <div> </div> <div>Because of this, Du Haijun selected the cities he experienced and let the heart of his paintings come from these urban impressions.&nbsp;</div> <div> </div> <div>Although they are static views of cities, nevertheless, Du Haijun&rsquo;s urban paintings show various urban visualizations. Du wields his paintings as instruments to dissect urban secrets. Each one of these individual lattice like city buildings narrates an urban story and tells of urban congestion. These paintings are definitely not a simple enumeration of buildings, but rather what results after a city squeezes everything from us. These include various codes that allow us to interpret Chinese society&rsquo;s existence and current situation. In the beauty and splendor of his backgrounds are the real stories of thousands and thousands of families and individuals, the painting of which is not easy.&nbsp;</div> <div>&nbsp;</div> <div>Du is like a detective who imagines and infers and even goes so far as to peep at the people and scenes that are inside these many urban windows. A few simple brushstrokes are adequate to set scenes and tell stories that make people want to view and interpret the paintings. These are the things that the young artist Du Haijun visualized these past few years as he breathed the city air; and, just because of these visualizations, he discovered, one step at a time, what a city is and what living in a city entails.&nbsp;</div> <div>&nbsp;</div> <div>Cities can be sung, so what songs are you singing, what tunes are you humming? Every person can make their own unending sounds by warbling, sometimes joyful, sometimes choked up, and sometimes even sad. Du Haijun utilizes paintings to carefully capture the musical notes of all these sounds. They are not shouts and noise, but rather soft warbles that remain unspoken. A city is a song that can be sung forever, and the tune changes daily. The paintings may be footage that has been stopped and then frozen on the canvas, so that the paintings seem filled with sounds that will drift across your heart. &mdash;&mdash;Wang Chunchen</div> </div> </div> Wed, 16 Apr 2014 04:36:17 +0000 Ding Bin - Today Art Museum (TAM) - April 26th - May 6th <div>Strictly speaking, post-landscape paintings should not be considered as paintings, but as iconography. It is no longer the traditional landscape painting per se, rather, it rejects its former definition. Ink and brush are central to traditional landscape painting imagery, executed through the artist&rsquo;s spirit. In other words, it uses ink to express the values of the literati. Post-shanshui iconography has not only stopped carrying forth the values of the literati, it has also deconstructed ink painting. In recent years, there are those who have already begun to experiment in this field in China. In 2011, a contemporary Chinese art exhibition, Shanshui was held at the Lucerne Art Museum in Switzerland, and some of the artworks in this exhibition are considered as &ldquo;post-landscape iconography&rdquo;. Today, Ding Bin has provided us with new examples of such artistic practice.&nbsp;</div> <div>This exhibition marks Ding Bin&rsquo;s first formal solo exhibition. He studied under Jia Youfu in his earlier years, on classical landscape painting and ink painting of the new China, and was peer of Chen Pingwei, a representative painter of the &ldquo;New Literati paintings&rdquo; at the Chinese Painting Department of the Central Academy of Fine Art. Ding has created a large number of works on monochromatic landscape paintings. In recent years he became infatuated with experimenting cartography through ink painting. He has thus departed from traditional painting methods, and boldly adopts the overlooking perspective perpendicular to the image. In sum, his artworks are angles to cartography and representations of ink painting.&nbsp;</div> <div>Ding Bin&rsquo;s artworks are created through production methods, rather than the traditional writing and brushstrokes. Thus Ding Bin&rsquo;s works are iconographies rather than landscape paintings per se. It rejects both the traditional landscapes painting and landscape painting in general, thus I define it as &ldquo;post-shanshui iconography&rdquo;. However compare to images of the landscape rendered through photography or mixed media, Ding Bin has not abandoned the material of traditional ink painting &ndash; paper and ink. He is an artist who produces the image of mountains and rivers with ink painting materials, which constitutes the significant attributes of his works. Due to the artist&rsquo;s familiarity of TV expressions, his works have appropriated the panoramic overview and certain methods of montage that also bring a sense of novelty to his works.&nbsp;</div> <div>Ding Bin&rsquo;s works do not represent social and political elements, nor do they express literati sentiments and values. The artist is more interested in contemporary expression. He extracted all the possible decipherable meanings that the artworks are capable to represent. The works nearly reached a state of &ldquo;void&rdquo;, by which to highlight the state of &ldquo;meaninglessness&rdquo;. Through vertical and horizontal expansion of space and the varying textures of his images, our imagination may also wander freely. With his works, we shall wander freely between the geography and principles of painting. &mdash;&mdash;Yin&nbsp;Jinan(Academic guidance)</div> Wed, 16 Apr 2014 04:33:27 +0000