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Preface to Album of Li Guangming’s Paintings Jia F

时间:2010-08-26 14:53 来源:上上国际美术馆 TAG标签: 点击:

If you have seen Li Guangming’s painting of horses, you would probably take him as an artist of Chinese Ink, whose art authentically derives from tradition. But in fact the traditional way of working behind the board is merely a small part of his career. He overpasses the material limitation of Ink Painting, and practices his art idea as being a Chinese Contemporary artist through experiments of different materials and action procedures. Therefore, Li Guangming is not only an Ink Painting artist, but a contemporary artist in Chinese art circle.

From his works, we can figure out that with the contemporary context in mind, Li Guangming focuses on two aspects. On one hand he is thinking over the difficult environment we human kind face. On the other he is pondering how native art can develop under the context of globalization. And both are urgent problems that Chinese contemporary artists can no longer shunt aside.

For the former aspect, Li Guangming’s works fully reveal that he is sensitive to the deteriorating environment and conscientious in reflecting on human behavior. His subjects include pollution caused by noise, industrial fumes and effluents and ceaseless oil leakage, as well as global warming. Those survival crises of mankind and animals inspire his creativity. To the world full of noisy soil shifters, he applied his installation work of Be Quiet for 1’ 40’’. In the Series of Ice, he froze waste water, ink and waste oil, and carved them into rocket, church, Adam and Eva, even landscape and Taihu Lake stones. Then he put those ice sculptures on Xuan Papers and left them to melt naturally. In the melting progress, stains of water, ink and oil magically formed abstract pictures. If melting carries certain metaphorical meaning, all those pictures are not only forms of patterns, but also narrate issues. In the Series See Through fogs, the artist filled hollow walls made from organic glass with industrial fumes. Audience was invited to admire through the walls Mona Lisa, Thinker, Evening Prayer of Bell, works of Zhu Da and so on. The artist sounded a warning of the deteriorating environment by compelling the audience to see in such a way. Endeavored to critically explore the humanistic spirit, he aroused the consciousness that we must be responsible for our deeds and we should have the ability of self-reflection and correction.

The latter aspect i.e. Li Guangming’s exploring in the road of development of native art is as important as the former one. Because the latter is a matter of how the subject of art can be passed on from one generation to another, as the former one concerns the survival of human being.

Feeling responsible for the national culture and the Art of Ink that is an integrate part of Chinese culture, Li Guangming is criticizing native culture and creating new art wisely and confidently. He has been searching for a new way of expressing in a new context, as can be seen in his works of Sadness of City, Bind Wound, Shadow Paintings, Evocation, etc. All of these works surpass the limitation of traditional materials and methods, and express Chinese culture spirit in a contemporary way. However it is not a coincidence that he chooses the contemporary way of expression, because that choice is based on his re-examination of the native culture and derived from his desire to bring forward the spirit of native culture.

Li Guangming started with the Great Wall---a weathering sign of Chinese cultural spirit, with which he resorted to new intermediaries to visualize his imagination. Sadness of City, Bind Wound and Shadow Paintings can be regarded as his art experiment trilogy. In Sadness of City, he employed various kinds of materials including Chinese ink, Xuan paper, canvas, Kraft paper, printing oil, acrylic and industrial adhesive and so on. It is worth noting that he mixed soil from the Great Wall into it, bestowing a same implication on those materials with the artist’s viewpoint. Later, he moved onto the behavior of bind wound which implied his intention of culture salvation. In Series Shadow Paintings, he tried to retain a moment of the ever-changing light and shadow. When traditional Ink Painting never takes light and shadow as a subject, Li Guangming sensed a new form of Ink Art from those unfixed factors --- it is general, unsophisticated and monolithic. His works including Series Ice and See Through fogs are profound in meanings and ground-breaking in methodology, from which we can figure out that Ink Art can be expressed in such a contemporary way. According to Li Guangming, that is our own way of thinking about the world and the society, a contemporary road derived from traditional Ink Painting.

Those Arts practices listed above is a single artist’s practices. Li Guangming knows it well that the system of contemporary Chinese cultural discourses cannot be built by someone alone. Thus, all these years, he has been devoting himself to the public welfare undertaking of Arts. He goes beyond personal practices as an artist and redoubles his efforts to nurture native art. Having abandoned the programs provided by more than a dozen top architecture design companies in the world, Li Guangming strained every nerve to design and built Sunshine International Art Museum. With the project finished, he schemed a series of Ink Art exhibitions to fulfill his idea of art and culture values. He has been dedicated to combining the value system of the traditional Art with contemporary circumstance and promoting those excellent artistic works to various aspects of the society. In Li Guangming’s viewpoint, Ink Painting should be stereoscopic, social, idealistic, part of everyday life, and belong to all the human beings.(文:sjr/摄影:/责任编辑:baishitou)

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