Curators: Su Wei, Sonja Lau
Artists: Ding Yi, Eugen Popa, Li Jin, Liu Ding, K.M. Максимов, Ni Haifeng, Pang Xunqin, Triplicate Studio (Sui Jianguo, Zhan Wang and Yu Fan), Shi Zhenyu, Tang Jixiang and Yu Guohong, Wu Dayu, Wu Yinxian, Xie Nanxing, Yan Lei, Zhang Wei, Zhuang Yan
Hosted by: Red Brick Art Museum
Dates: 6 November 2016 to 19 February 2017
Opening: 16:00, Sunday 6 November 2016
Address: Red Brick Art Museum, Shunbai Road, Chaoyang District, Beijing
Tel:＋86 10 8457 3838
On November 6, 2016, Permanent Abstraction: Epiphanies of a Modern Form in Escaped Totalities open at the Red Brick Art Museum in Beijing. The exhibition is curated by Su Wei and Sonja Lau.
We can see in “abstract” painting the imagination of the nation and the state and also private sensibilities, but despite this “abstract” painters are marginalized and sadly often not given a historical position. However, this might only be the case if we perceive “abstract” painting from a modernist aesthetic perspective. From the 1930s onwards, revolutionary ideology and from the 1950s onwards, the aesthetic ideology of mandatory realism, constructed a narrative that dominated Chinese culture. “Abstract” art was like a “present absentee” in these two societally and government-guided ideologies; “abstract” art experienced Chinese political and cultural history along with the rest of art, but it did not seem to exercise its political power or ability to construct history, its intrinsic perceptual power and long-standing inability to openly present its aesthetic sensibility meant it failed to claim its historical position. What we perceive as “abstraction” was repressed, broken, and without historical foundation; it existed in the shadows, scattered to all corners of history, so an aesthetic imagery form became an “abstract” structure.