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May You Succeed - Paintings by Song Yuanyuan

01100001 (Beijing)

 

Song Yuanyuan was born in 1981 and graduated from the Photography Department of Lun Xun Academy of Fine Arts in 2005. Learning and research experiences on photography contributes to his ability to perceive and process images. Furthermore, it helps him face the world independently through a self-conscious attitude towards images. After graduation, he started to work on paintings. Passing through different types of painting schema and techniques of expression, he has developed mature approaches on shaping and color, also shown exuberant creativity. In many of his recent works, he investigated from the perspective of daily life the chaotic scenario in spaces left by human activities, e.g. a room in fitment, a meeting room or a living room. Sometimes multiple images are formed through his approach of ※picture-in-picture§. In many of the works, a daily and realistic scenario is maintained, while the depicted objects also show a state of ※ready-made§ as of the Dadaism. It unfolds a situation that the real and the absurd are unified in life. Song Yuanyuan*s paintings represent an artistic tendency of the young generation, e.g. they attach importance to the realistic painting techniques in a traditional sense, meanwhile apply contemporary visual experiences and concept to the daily and the realities.

Zhang Li ﹛Nov. 2010


 

Opening: November 28, 2010, Sunday 15:00 每 18:00
Duration: November 28, 2010 每 March 15, 2011
11:00 每 18:00 daily, close on Mondays
01100001, C3, Red No.1, Caochangdi
Chaoyang District, Beijing, 100015, China

Tel : +86 10 51273204
Mobile: +86 135 2103 8537
Email: 01art@01100001.com
www.01100001.com

 

 

 

 


 

Diorama on Wall

What contemporary painting faces is the reality of today. Stereo perspective and sense of space are still artists* approach to represent subjects. The integration of meaning and formality of a work piece lead to the success when shown to the public. Paintings are based on walls, meanwhile limited by this boundary. The intention of an artist is not to break this boundary but to devote their vitalities into one*s art form, in order to alter the immediate circumstance of each individual living here and provide which all sorts of possibilities.

Zhang Li ﹛2010.9.18








Opening: Saturday, Sep. 18, 2010, 16:00 〞 18:30
Duration: Sep. 18, 2010 〞 Nov. 3, 2010
11:00 〞 18:00, close on Mondays
01100001, C3, Red No.1, Caochangdi
Chaoyang District, Beijing, 100015, China

Tel : +86 10 51273204
Mobile: +86 135 2103 8537
Email: 01art@01100001.com
www.01100001.com

 

 


 

Zheng Qiang 2010
New exhibition at 01100001( Beijing )

 

Opening: June 12, 2010, Saturday 16:00 每 19:00
Duration: June 12 每 Aug 22, 2010, 11:00 每 18:00, close on Mondays

 

 ※Zheng Qiang 2010§ , the solo exhibition of the artist Zheng Qiang, will open on June 12, 2010, presented by 01100001, the Caochangdi based art space dedicated to Chinese contemporary art. It will present 10 refreshing new paintings by the artist who is right at his peak. 

Zheng Qiang was born in 1975 in Shan Xi province. He studied at the Xi*an Academy of Fine Art as well as its affiliated high school. After graduation, he taught at the high school affiliated to Lu Xun Academy of Fine Arts based in Shenyang . In 2006, he moved to Beijing and became an independent artist. He has been taking a proactive role in pursuing the objective meaning of painting consciously through his painting practices. The in-depth and radical experimental spirit has been leading his creation. In his eight-year career, he liberated the image from its banal connection with the reality, which transformed the image and its significance in a contemporary context and furthermore inspired people spiritually.

In his latest works in the exhibition, the interaction with the viewers is introduced explicitly through their individual experiences. The significance of the artworks comes from viewers* reflection on the process of cognition, instead of the direct function of images. Viewers* experiences are enriched when they doubt about the meaning of image, re-examine it and then return to the significance of image. The experience has to be fulfilled by the individual, which will bring each one a unique feeling.

Zheng Qiang is one of the passionate artists who are profound and sharp in perception, diligent and rational in willpower. His works offer an instructive revelation on the stage of development of contemporary art: the power of art works does not lie in new graphical presentation, it lies in the participation people pay to echo their background and experience, and the way to surpass and elevate it. Whether traditional or contemporary, in the basic techniques such as strokes, construction methods and color manipulations, artists had always tend to challenge or compromise the viewer*s cognition. In present time, people had changed a lot in cognition structures, the content, form and composition of images had transform into a multilevel trend of development; the way of image process needs to explore further into the unknown fields in this great transformation period. Only those who have the courage to take risk of failure, searching and experimenting constantly, can win the infective mutual energy among the viewer and his work. This is the significance of Zheng Qiang as well as his works at the current time.

As an art space working in depth with the Chinese contemporary artists and closely tracking their work, 01100001 will focus on the new scene and latest achievements of Chinese contemporary painting in a recent time. By exhibitions and publications about painters of all age, it will revisit and discover the up 每 to - date nature, value and social significance of Chinese contemporary paintings. During the recent 20 years, important achievements have been made in the field of Chinese contemporary paintings, nevertheless, debates and pitfalls exist in the filed as well. Painting is a form of individual expression that artists could adopt conveniently after thorough professional training. In China , the value and significance of painting, as a media of contemporary art, is in a process of continuous development and change. There is an extreme vital force in the field of painting, which does not lose the nature of contemporary and avant 每 garde either. A group of middle aged and young painters with experimental spirit have already made fascinating works. As a member of them, Zheng Qiang will start the journey of contemporary painting at 01100001 in its serial solo exhibitions.

 

Zheng Qiang*s Wild Boar Forest
By Zhang Li

In 2010, Zheng Qiang created the painting Wild Boar Forest. The painting represents a landscape of primeval forest which toned with a dull grayish-brown color. The title is written on the left corner of the painting. There*s a blank space on both upper and lower edge of the canvas. The story of Wild Boar Forest comes from Chapter 8 of The Outlaws of the Marsh, which describes after being framed, Lin Chong the hero was tattooed and exiled to Cangzhou, on the way, the escort guards were instigated secretly by Gao Qiu, a treacherous court officer, to kill Lin Chong in the desolated Wild Boar Forest. Fortunately Lin Chong was saved by his sworn brother Lu Zhishen (Sagacious Lu) at the very moment of danger and survived the crisis. In the novel, Wild Boar Forest is an isolated and dark place where tattooed and exiled heroes are being murdered. The Peking opera version of Wild Boar Forest is most widely known by public; it was presented on stage by screenwriter Pu Xu and Yang Xiaolou at 1930s and was first titled Mountain Spirit Temple. Later on, Li Shaochun made the transcription and brought it to completion, it became an outstanding play in the 1950s.
In this piece of work, Zheng Qiang did not recreate the story but represented a simple landscape. The original Wild Boar Forest stands for a dangerous location where crisis occurred everywhere; it is also a turning point of heroes* unfortunate lot. In the story, the basic point of the savage Wild Boar Forest is the transition of one*s fate which revealed through literature and traditional opera imagery. Zheng Qiang imported this structure by inscription, therefore causes an unpredictable conflict between the skillfully painted pleasant scenery and the title. This structure investigates the nature of emotional colors in image which entitled with an event; it also inquires viewer*s visual acceptance through the process of transition, which is from a neutral image to a symbolic concept and then back to the image itself again. The blank space on the edge declares it is not only an image but a carrier of imagery manipulation.
There are a few other monotone landscapes painted by Zheng Qiang during this period. As same as the intention of using blank spaces in Wild Boar Forest, in Hinterland, some square door openings lies at the bottom of the painting; also a boundary appears within the canvas, these two elements form a substantial quality on a plane surface and alter the viewer*s knowledge of viewing a landscape. As same as viewing Wild Boar Forest, the first impact on viewer*s fixed mind of common landscapes is the dissociation of color, which is not a rigid gray but a rich grayish-brown tone; the viewer*s experience of airiness and depth of space is being interrupted by its monochrome appearance, then the doubt of landscape imagery turns into denial, and brings up a renewed deliberation towards the meaning of image. Without the blank space, the inscription or treating the paintings as a part of the wall, like many other works during this period, the tone, the skill or the texture of oil paint, even the signature at the corner would still change the viewer*s visual experience. The artist is not simply playing a visual game, he is trying to arouse the doubt and encourage the re-observation, enrich the viewer*s experience by returning to the significance of image. Every individual*s experience will be special and unique because the viewing is rather a lonely journey.
Zheng Qiang has been projecting various visual items in his work, in order to research on the transformation of image meanings. From the portray of vision test card and color palette to the use of poker symbols, which is to interfere the image; then apply the items such as football, tent or gem as symbols or theme of his work, the reality within image is being reconstructed, the boundaries of concept are being migrated. From late 2009, many of Zheng Qiang*s works are related to multiple spaces. He is not trying to maintain a certain painting style but is trying to seize an efficient method of image manipulation. In reality or images, the sense of &space* does not only rely on visual experience but also common sense, this gives Zheng Qiang an opportunity to proceed, to lead people to reconsider their knowledge and the meaning of it. The space in his works is multiple and uncertain, therefore the contrast between the image and reality creates multiple inspiring ideas. His works are not simply a mirrored space of reality or a description of simulation courses; yet they do not construct space existence directly like absolute abstract paintings. He simulates, manages and manipulates multiple spaces, finds the bounds of people*s cognition before the establishment of each space still remains mystery, opens a new world full of viewer*s personal experience.
Since his works make an explicit introduction on the interaction with the viewers, they would eventually leads to receiver*s innermost being and emotion. The seemingly coldness, nonsense and boredom change. On this point, many titles of Zheng Qiang*s works are secondary meanings. Some titles are clear and straight while some others are obscure and implicit. Because of the participation of the viewer, the emotional directing is unpredictable. And this makes his works not appropriate to describe or sum up with conclusive words. In fact, Zheng Qiang created a unique system of discourse and a load mode of text through this method, the meaning of a work comes from viewer*s introspection of cognitive process rather than the direct effect of the image. As the artist put in his note: §Sometimes experience equates to imagination. Sometimes experience is based on imagination.§
Zheng Qiang is one of the passionate artists who are profound and sharp in perception, diligent and rational in willpower. His works offer an instructive revelation on the stage of development of contemporary art: the power of art works does not lie in new graphical presentation, it lies in the participation people pay to echo their background and experience, and the way to surpass and elevate it. Whether traditional or contemporary, in the basic techniques such as strokes, construction methods and color manipulations, artists had always tend to challenge or compromise the viewer*s cognition. In present time, people had changed a lot in cognition structures, the content, form and composition of images had transform into a multilevel trend of development; the way of image process needs to explore further into the unknown fields in this great transformation period. Only those who have the courage to take risk of failure, searching and experimenting constantly, can win the infective mutual energy among the viewer and his work.

Translation by Zhu Hongling