关于 ABOUT INTER-YOUTH
本届“Inter-Youth国际青年绘画展” 将以开放、多元的面貌集合众多青年艺术家，以“此时虚造” 为学术主题，展现时代青年的绘画艺术所具有的丰富的想象力与创造力，融合多元的绘画表现方法，为视觉艺术创作打开不同的视角。在虚拟真实的世界，如何用绘画再现“真实”与“本真”成为这个时代的重要命题。“虚造”回应图媒体时代图像过剩的现象和艺术创作中“转换”、“还原”、“再造”三个基本问题。“视真”回溯世界的真实与视觉的真实这个关乎绘画本源的问题。本次展览通过对绘画本源、时代特征和绘画当代性的思考，再次发起对绘画创作的反思与追问。
INTER YOUTH is a new platform to exhibit and to communicate the development of contemporary painting at the academies in China and abroad. The project is initiated by the School of Painting. The school is composed of oil painting department, mural painting department and printmaking department, which is quite different to the academic structure in Europe or America as well as to other Chinese academic institutions.
Inter Youth is giving the possibility to communicate about painting now with the focus on students and academic experiences in different education systems. It will be a platform to show the possibilities for young artists as well as the difficulties once they leave this system.
We proudly announce the INTER YOUTH ART AWARD to promote further the inquires and innovations of painting in the arts. All students from The International League of Higher Education Art Institutes can participate. The major creation technique should be drawing, printing and of course: – painting. Two- , three- and multi-dimensional works are accepted. The size should not expand 200X200 cm. The winners will be chosen both from a Jury of established artists, critics, and scholars. Also, there will be an award of My Favorite Painting voted by audiences.
The Inter Youth Art Award shall support the communication between the academies from the International League of Higher Education Art Institutes as well as supporting young artists to kick start their first steps into the art world.
How do artists visualize their imagination?
How do we create worlds and let an audience be part of these worlds?
THE FICTITIOUS PRESENT is the first exhibition taking place in the program INTER YOUTH with a general focus on creation and imagination of young adults and the need of binding this onto a canvas, a paper, referring to it in sculpture or in video. The creation methods in the main media painting have emerged a lot, changed its own restrictions. Painting is and will always be compatible to all other contemporary medias.
We increasingly live in a world, where nothing makes any sense. The reality has become so complex, that we can’t understand processes of separation in work, the production of the most simple objects etc. Painting, art and creation itself will always mirror this so-called FICTITIOUS PRESENT.
The exhibition will also invite young established artists to show their works, who also went through the academic system in the academies in China. They will allow to reflect on their ways into and through the world of art and show their experienced positions from the “reality“ after the studio years.
Opening: October 29, 2015
Venue: Art Museum of CAA, No.388 Nanshan Road, Hangzhou, China
Chief Curator: Jing Shijian
Guest Curator: Ma Nan, Song Zhenxi, Carola Uehlken
Out of or Into the Mystery
It has been a long time since I had a conversation on painting with younger artists.
The colleagues from the new-founded School of Painting are about to make the traditional Stars of Century program of the former Oil Painting department more international. They have magically collected many works of art and asked the students to write relative essays and then compiled into an attractive catalog with both words and illustrations. Professor Jing, the deputy dean came to me one day and showed me two essays from the students and invited me to write a preface for the catalog.
Not having seen any exhibiting paintings of the young artists, I do doubt whether I could give a satisfactory prelude. The only way I can take is to seek for the riddle-like traces and inquire about the consideration of the younger generation from those two essays. Most of their words are complicated and confusing meanwhile fresh and naive, however they always give an impressive answer to “what the painting is”. Here follows some excerpts: “Painting is a record of what we see, we feel, we think and consider in our daily life. The means we take…is depended on our personal judgment of values and emotional experience.”
“Painting is the traces left by the heart when it passes.” “Every tree has its soul. On the tree we see life, which reflects ourselves.” Compared with our generation, the younger artists are more eagerly to express their intention that they are no more satisfied with painting the objects; they want to paint their minds.They are no more satisfied with approaching the objects in a dull and flat way; they’d rather get into it mysteriously. However they do know that minds are inseparable with objects. How to experience a slow polish of language and a growth of life in this inseparability; how to constantly crack the code with their growth and artistic practices in the mysterious world; these are the riddles given by times and histories and by themselves.
Professor Jing has named the exhibition “Existence and Vanity”, which somehow has dimly reflected some philosophical anxiety. It is the ghostly living circumstances of both existence and vanity that disperse on the students’ complicated and confused minds and induce the spiritual suspicion of times, and particularly reveal an inevitable fact that the convenience of the virtual images technology of the internet era has constantly hurt and disturbed the persisting mind of craftsman of an artist. The imagination which is hasty and bossy, the innumerable image package of the Cloud have made the younger generation confronted with an unprecedented confusion. Is it possible that to capture the confusion and seeking of a generation with a lively and active image without losing the poetic sensation of their heart? Then it flashed into my mind: Out of the Mystery, or Into the Mystery. In the present era of image, the suspicion of image is not about the abundance or the convenience; it’s about the simplification of the relationship between image and us, which has constructed a boundless mystery for our real feelings. We come into or go out of the mystery, looking hopefully outwardly or inwardly. We want to see ourselves. Qi, which means looking forward in Chinese, originally means standing on tiptoe. What a hardworking of this kind of looking!
I am right now standing on the side of Yuanmingyuan Imperial Garden. I walk slowly like what Master Zhou wrote in Shu Li 3000 years ago, “walking slowly, choked with sobs”. Although not choked, I think of Tian i.e. the sky and Di i.e. the land and sigh. Sky meant vast and hazy. In Analytical Dictionary of Characters written by Xu Shen of the East Han dynasty, Tian meant the most lofty. With a similar pronunciation to Dian, which meant the top of the head, Tian meant the infinitely high sky and lofty. In the ancient oracles, Di derives from Tu, which is equal to She referring to the temple then the society where the villagers get together to worship their gods. Tian and Dian, Di and She, we are inside the mystery of the sky and the land which is grand and sophisticated. The sky and the land have given us so many mysteries. How can we come into or go out of then solve them with our artistic practice and life?
Oct. 15, 2015
“The Fictitious and the Present”
Painting is different from machine-made image. Painting is a language created by artists through their comprehension of what they feel. Gongwang HUANG, who painted the Dwelling in the Fuchun Mountains, lived in the mountain with barren trees and bushes. He was so much involved in the tranquilized environment and the joy it brought. Eventually he captured the essence of the Fuchun Mountains. Therefore, the real environment of Fuchun Mountains is so much different from what we can see from his painting on which there are mountains and waters, dead branches and leafs painted in a traditional way. Every detail reveals the manner that HUANG had. The most important part of painting is the recreation of nature and this is what machines can never do.
“INTER-YOUTH: International Painting Exhibition” is originated from art works done the students majored in oil painting in Chinese Academy of Art. The paintings are mostly come from daily composition. Now we make it as an international exhibition inviting young artists from the world to extend its function as a platform. The paintings presented might have room for improvement, but it shows the dynamic and the fresh motivation that young artists have. “Present & Current” also tries to emphasize that how young artists reposition themselves and how do they find the originality of art from images that created by machines. They are not simply record nature as machines do, they record after interpretation. It is to reconstruct the real world, and at the same time, it is also the reconstruction of men’s spiritual world. This is the Preface.
这个时代青年的绘画具有丰富的想像力与创造力,为视觉艺术打开了不同的视 角、融合多元的绘画与绘画表现方法。此时,这是一个虚拟真实的世界,对“真实” 与“本真”的绘画再现成为这个时代的重要命题,“视真”回溯世界的真实与视觉 的真实的绘画本源问题。通过这样一个对绘画本源、时代特征和东方诗性的思考, 以期达到绘画创作的追问与解答。
“虚造”回应图像与媒体时代的图像泛用与过剩的现象和艺术创作的“转换”、“还 原”、“再造”三个基本问题。中国传统美学的“以虚生实”——“无形而有形生嫣, 无声而五音鸣焉,无味而五味形焉,无色而五色成焉。是故有生于无,实出于虚”。 从创作论上阐述了东方诗性的美学精神,同时也预知地道出了今天的真实所在。
今天,绘画所面临的的问题不仅是图像危机的时代,也是绘画滥造众相的时代, 它面临概念化国际化的语言的冲击和保守与世俗、观念艺术等复杂状况。历史上几 乎无人记得“娃哈哈”曾经生产过“中国可乐”,不久便消失。互联网也曾是舶来品, 缘何在这里生根,引领世界。特有的时代、生长的地域性、品质的特征、时空的吻 合性构成了它们各自的命运。一个技术与商业的历史线索也可能是艺术的见证。
“Clarity of Void and Tranquility”
The paintings of a younger generation are full of imagination and creativity, which open various perspectives for visual arts and blend multiple means of expressions to painting. At the present world of virtual reality, and the pictorial representation of the “truth” and “reality” become the main theme of this time. “Viewing the Truth” is the original problem of backtracking the reality of universe and the visual reality of painting. Through this meditation of the painting’s origin, epochal features as well as oriental poesies, we expect the questions and reactions for the creating of painting. “Fabricating” is a responds of images and the generalizing and excess of images in a media era, as well as three basic matters of artistic creation which include “transformation”, “restoration” and “recreation”. The philosophy of Chinese traditional aesthetic is to create reality from the vanity: “from the intangible tangible was shaped, from the silence voice was created, from the tastelessness gustation was appeared, and from the colorlessness color was produced. Thus everything is out of nothing, and vanity creates the reality.” This interpreted the spirit of oriental poetic aesthetic, and also predicted today’s facts.
The Time today’s painting is encountering is not only a time of image cerise, but also a time of painting abusing. Painting is facing the complicate situation of international linguistic shock and conceptual conflict between conservative, secular ideals and new ideals. Nobody remembers that Wahaha Company had produced “Chinese Coke” years ago, and soon disappeared. The Internet used to be a exotic. Why it takes its root in China and also leads the world? Different epochal features and their own characters as well as opportunities create different fates of this two things together. A historical clue of technology and commercial could also be a testimony of art.
The academic subject of “ technique and method ” proposed by Dean Xujiang is a profound thesis of this great painting period. Themes discussed and displayed in this book are the responds as well as a beginning of various problems and materials. It is a academic clarifying full of contemplation an challenges. It is a Pioneering Work.
“Let your spirit get into a extremely quiet status without desire and material gain, then the richness and beauty of universe will display in front of you as were revealed in a mirror.” this explain clearly the creative methods and thinking moods of artistic creation.
This work, which discussed its subject under the vision of contemporary painting of youngsters around the world aims to make a comprehensive observation of contemporary paintings through a scrupulous attitude. And we are looking forward to witness more representative and profound works with oriental qualities to become a significant power in the art world.
“The Jungle of Multiple Entries”
Perhaps, what painting is facing today is not only the flooding of images after the mechanical reproduction, but also the homogenization and overall mediocre caused by the globalization, as well as the marketization of art which is kidnapped by capitalism. However, we may have talked too much about art and endowed too much with painting. As if we expect to witness the universal spirit of human being through a single art work. Perhaps we should hold our high expectations and give painting a break, so to prevent it from becoming a popular fashion, another genre or an attitude of political righteousness. So to prevent it from becoming incompatible, which has being forcing the young artists to pretend to be deep in order to become a so called “contemporary artist.” Painting had made so many miraculous achievements through its own avant guard practices. But is this institutional reflexive awareness derived from sensational instinct or of philosophical analysis? Perhaps both, perhaps when talking about an art work, we also integrate too many elements but while looking at an art work, the process is quite different. When Walter Benjamin transported the responsibility of seeking truth from philosophy to art, he was de-powering the dominant rationality, in order to reveal the unspeakableness of allegory in art as an non-material creation. Art is not rationalism, instead, it is always digging for the other layers between the visible and the invisible world. It is more of a spontaneous spiritual exploration in this field of sensations and experiences.
In the “INTER-YOUTH: International Painting Exhibition,” we will not apply the linear inductive method to classify and summarize the works of participating artists. But, in the topological sense, to find out the relevance from the individual practice of young artists who use painting as a way to integrate the debris of everyday experiences. By juxtaposing the paintings of different artists from all over the world, the exhibition intends to create an immersive site of sensibility, in which several strategies of coping with the realities can be found.
(Chinese + English)
宣传片 2015/2016 TRAILERS
联系我们 CONTACT US
社交媒体 SOCIAL MEDIA
Follow us on WeChat