Turn round is barren field – On He Libin’s “Wild Field” series painting

Turn round is barren field – On He Libin’s “Wild Field” series painting

By Luo Fei

Contemporary art we discuss today in fact is a kind of art on metropolis. It points to the modern social system of metropolis in such aspects as theme, style, trend of thought, economic system and target audience. Although such an idea can’t embrace all contemporary art, we can find that such a tendency is influencing the interest of mainstream artistic circle and the creation of contemporary artists if we refer to the themes of international Biannual exhibitions held in recent years. Indeed, as a cultural incident, contemporary art has its cultural pertinence to survival in metropolis, has criticism and concerns and holds together the echoing in cultural psychology with the target group-city dwellers, organic experience and survival experiences. This kind of grand depiction on metropolis can’t provide a kind of foreseeable critical stand to the survival situation of contemporary people, for the depicter himself is also at a certain layer in the society. Sometimes, we just get the opposite to what we wish and have a kind of fawning, i.e. the coquettish art in late 1990s, today’s big face painting school, prevalent brutal youth diary style as well as auto finishing swept the sculpting circle. In order to reflect the blundering and flattering reality, artists decide to make themselves and their art even more blundering and seductive. Such criticism is just an ineffective solution.

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Let There Be Light

Per Johansson, who was born 1984 in Sweden, is a post-1980s artist. Different from many post-1980s artists with inhospitality and indifference, Per is a mild and modest person willing to think and communicate. Per is good at seeing the enchanting moments of the mysterious nature: the sun breaking out of a cloud, a tiny part of a lake, or some vaguely seen shadows. These parts of nature are all in some way related to light: in the ripples on the lake, in the fog, in the sky over an island, or in the twinkle below the eyelid when somebody just opens his eyes. Sometimes the light is clear and sometimes it’s vague. Different kinds of light finally become paintings: the phenomenon, the illusion and the vision of light. The phenomenon of light is Per’s observation on light and shadow in nature; the illusion of light is different pictures in his mind; and the vision of light is the spiritualized light Per experiences in prayer, within his soul.

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An Archaeological Tour of Revolutionary Romanticism and the Metaphor of Camouflage

An Archaeological Tour of Revolutionary Romanticism and the Metaphor of Camouflage

–My views on Ms. Lei Yan’s latest works

Before the interpretations of the two groups of recent works by Ms. Lei Yan – “Frozen Series” and “Camouflage Cloth-making”, we should know of two relevant background factors. One is that she has been a female soldier in the army for 30 years (1970-2001) and then joined the Kunming contemporary art community “Chuangku” to set up her own studio after retiring from army. Lei Yan has experienced the transformation from the traditional art practices on creation of military subjects into the use of pictures, equipment, videos and other media for the creation of contemporary art works, and each article and event could sufficiently constitute the main raw material for her current creation. Secondly, the retrospection and reflection on the Mao Zedong era (mainly during the last 1950s-1970s) by the Chinese contemporary artists have never ceased. In each period Mao and his era’s symbols and images will be appearing in these artists’ narrative methods, which not only is the historical fact of the” Passion Burning Years” that the artists can not shun away from during the time when belief was absent, but also a kind of inquiry about the future. After knowing about these backgrounds, we can proceed with the interpretations of the latest works by Lei Yan.

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