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9

 

 

 

 

Zhang Yunyao: Touch Point | Glenfiddich Artists in Residence Programme 2013

01100001 Gallery, in collaboration with Dong Gallery and Glenfiddich Artists in Residence Programme

Opening: Nov 23, 2013, Sat, 16:00-18:00
Duration: Nov 23 ¨C Dec. 15, 2013
Hours: Tue - Sun, 11:00-18:00
Venue: 01100001(Beijing)
C3, Red No.1, Caochangdi, Chaoyang District, Beijing 100015, China

Touch Point is Zhang Yunyao¡¯s first solo exhibition in Beijing after his in-residence programme in Dufftown. Including drawings, oil paintings and his distinctive felt paintings, the art works for this exhibition present the artist¡¯s exploration of texture and aesthetics. The touch point is the artist¡¯s direct reflection of what he perceived in an unfamiliar environment. Exotic landscapes, climate, vegetation, animals and distances of human beings¡¯ existence, all these are the points that touched the artist¡¯s inner world. Persons¡¯ back figures and costume on felt, as well as images presented by oil and watercolor, are genuine representation and intended deviation of the surroundings. Zhang Yunyao¡¯s paintings create a mysterious and fabulous mirage in a gloomy and obscure language.

Zhang Yunyao was in the famous programme in Scotland from June to September this year. His brand new works created during his programme period are all included in this exhibition. It is also the first exhibition of the ¡°Glenfiddich Artists in Residence Programme¡± in Beijing. Before Zhang Yunyao, the artist Mao Yan, as well as Zhang Qing and Yuan Yuan have been in the same programme in the past years.

For more information, please contact£º
01100001(Beijing)
C3, Red No.1, Caochangdi, Chaoyang District, Beijing 100015, China
M£º135 2103 8537
E£º01art@01100001.com
W£ºwww.01100001.com

 

 

 


 

 

 

Calligraphy by 19 Contemporary Artists

Curator: Zhang Li
Artists: Ai Guo, Chen Liangjie, Chen Xiaoyun, Chen Wenbo, Lin Jia,
Feng Xiaoguang, He Chi, Nie Mu, Jiang Zhi, Mao Yan, BIRDHEAD,
Tian Tian, Wang Jinsong, Wang Xingwei, Wang Yin, Xie Nanxing,
Yang Jinsong, Zhan Yingxiang, Zhuang Hui

Opening: Sep 28, Sat, 2013, 3pm - 6pm
Duration: Sep 28¨COct 20, 2013, 11am¨C6pm


Calligraphy, as a traditional art form in China, still retains its charm and influence today thanks to its rich content and heritage. From cognition to practice, values to ideology, people¡¯s focus on calligraphy and other traditional art forms keeps changing and getting updated. In our present context of dramatic changes in history and cultural background, the attitude toward calligraphy has become a meaningful topic for discussion. What is amazing and thought-provoking is that a number of contemporary artists who are engaged in painting, photography, installation, or video are practicing calligraphy as amateurs, in which calligraphy, not directly related to their career as artists, becomes a medium for selfadjustment and self-discipline.

From calligraphy evolved laws and rules for formative arts or visual arts, and it went hand in hand with Chinese characters that are considered a time-honored and vigorous fruit of the Chinese civilization. In childhood, or even in teenage years, many people practiced calligraphy under their parents¡¯ guidance, so when coming into contact with the rich historical heritage and changes, they are able to take advantage of the opportunity to experience the penetrating intellectual force this art form of generates. For contemporary artists, self-learning and practice in calligraphy helps them greatly to retain sensibility and creativity in art.

This exhibition includes calligraphic works by nineteen contemporary artists. Most of these artists do not have the background of calligraphy or Chinese traditional painting, so calligraphy becomes their hobby. The amateurism in this case reveals the spontaneity and vitality involved in art practice. This exhibition aims to focus on the free state of calligraphy not as art products, so that the audience can share the artist¡¯s pure and individual mind. There must be significant relationship between these calligraphic works and the quality and import these artists show in the context of contemporary art. This topic, covering a wider range of fields and disciplines, needs to be explored on a deeper level. Several contemporary artworks with calligraphy as medium are also on display, serving as a clue to the background of contemporary art.

Zhang Li
Sep. 2013
Translated by Li Bingku

 


 

 


 

 

 

Wang Xingwei (Sketches)

In collaboration with Galerie Urs Meile, Beijing-Lucerne

Opening: May 18, 2013, Sat, 15:00-18:00
Duration: May 18 - June 30, 2013
Hours: Tue - Sun, 11:00-18:00



Wang Xingwei (Sketches)


Text: Zhang Li

Wang Xingwei, born in 1969, is one of the representatives of Chinese painting after the mid 1990s. His realistic pictorial language adds a new dimension to his paintings after 1994 both in connotation and denotation. 2008 marked the transition in his art, from intervention in the system of signification by means of examination and integration of the pictorial languages as media, to more emphasis on the inherent structure of the pictorial languages and their form, thus highlighting the homogeneity between fundamental factors in a visual reproduction, like form, space, mass, properties, rhythm, order, class, etc., and the psychological structure, unconsciousness and instinct on the part of the painter and the viewers.

As a reliable record of the artist¡¯s original idea, as well as a vital stage in the fulfillment of an artwork, a sketch often embodies the keenest and most accurate sense of art, and is sometimes even more vigorous than the final art work, therefore regarded as the formal vehicle of artistic inspirations for an open and liberal artist. The sketches and original paintings to be presented at this exhibition, about 100 in total, make up a selection from a large number of paper works that Wang Xingwei has accumulated over the past 20 years. This exhibition, jointly organized by Galerie Urs Meile and 01100001 Gallery, opening simultaneously with ¡°Wang Xingwei¡±, a large-scale retrospective exhibition at Ullens Center for Contemporary Art in Beijing, will surely offer a unique opportunity to gain a clear and profound understanding as well as genuine admiration of his art works.

Different from a drawing for studies, a sketch, marking the beginning of the production for an artist, is extremely significant for an artwork that penetrates the depth of reality while retaining the feature of the object as an image. Quite a number of his sketches between 1994 and 2002 follow traditional steps ¨C these sketches authentically recorded the stages of his art production, including how a motive is inspired, developed into a clear idea, and finally turned into a fairly complete colored small draft.

As the product of conception and design, a sketch, in contrast to an artwork on paper, usually considered incomplete and lacking in embellishment, is therefore to be improved by the artist in the final work. Not as polished or neat as the final work, it is nothing but a symbol that records the elements of pictorial language and follows the primary trail in its evolution. A sketch is consequently not meant to be reviewed or judged by the audience. It is not a blue print in most cases either, as it serves no other than the artist. Most of Wang Xingwei¡¯s sketches have the opportunity to greet the final works after some time, but there are still some that have to wait until many years later or forever.

Since 2008, Wang Xingwei has been making a point of avoiding over-detailed small drafts in the hope that the final works can record more of their natural development. After 2010, in particular, the layering technique gave his works a sense of sculpture. A detailed sketch with concrete images can be a limit and obstacle to the final work. Everything at this stage is arbitrary and random, and the image surfaces as the final works comes onto the scene. In this sense, the final image is a by-product in a process in which the artist tries to ensure pictorial rationality and effectiveness, whereas the sketch is an experiment design that involves all the necessary elements and stops at the right moment and at the right place.

In order to simplify images and highlight their features, Wang Xingwei recur to stick figures and drawings without a lot of details between 2006 and 2007. Sketches, due to their quality as schematic outlines, were thus introduced into the final works as core elements in the art production. A sketch is more than a conception in this case, as its setup determines how the final work is composed.

As far as Chinese contemporary art in China is concerned, this is the first exhibition that systematically organizes and displays the genuine sketches an artist made during his artistic practices. While bringing the audience in closer contact with the diversity and originality at different stages in the past twenty years in Wang Xingwei¡¯s career as an artist, this exhibition will also lead the audience who are trying to decode the final works, to the discoveries of the artist¡¯s trail of thought and reflections that are scattered or huddled in the margins.

2013. 5

Translated by Li Bingkui

 

 


 

 


 

 




Primary Colors
A Solo Show by Wang Xingjie

Curator: Zhang Li
Opening: Mar 23, 2012, Sat, 15:00-18:00
Duration: Mar 23 - Aug 26, 2012
Hours: Tue - Sun, 11:00-18:00

Born in 1971, Wang Xingjie currently lives and works in Shenyang. Not until the age of 27 did he officially start to paint. Unlike the majority of the self-educated amateur artists, he has been keeping close contact with the academic circle and was familiar to the basic formative language of art. He opens freely to different mediums and languages, meanwhile possesses his own attitude towards the reason and pursuit of making art.

With authentic eyes and brain, he applies art mediums based on comprehensions and willing of his own. The language he has developed is straightforward and simple, which depicts what he sees from the innermost consciousness, also establishes his correlation with the world on canvas. Wang Xingjie has never pursued after any formulas that might be instantly effective, instead, he has developed a steadfast referential system deriving from the raw feelings within his heart. Rather than directly reflecting the energy in a man or an object itself, he is trying to express how the energy manifested through his consciousness.

In an atmosphere that artists are prone to pursue individual symbols and identification as well as characteristics attached to a time or a culture, Wang Xingjie has been faithful to his original pursuit while learning, experimenting and investigating. For him, the starting point of making art is neither criticism nor creativity, but discovery and free expression.