RTSM｜The Eighteen Scenes ：马路 & 姜杰
The Eighteen Scenes | 十八个现场
Reflecting the Sharing Moment | Section Four
2020艺讯网线上展览
2020艺讯网英文版最新线上展览项目“Reflecting the Sharing Moment”（缩写为RTSM）正式开启，第四期“十八个现场”已上线！我们邀请了来自世界各地的艺术家，带来他们在2020的思考和创作。
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As the last phase of 2020 "Reflecting the Sharing Moment", "The Eighteen Scenes" has shared 18 artists/groups' artistic thinking of the year 2020. These scenes cannot fully represent the overall epitome of this year, but they are indeed true representations of some cross-sections.
In this section, we would like to introduce artists MA Lu and JIANG Jie, as well as their artistic reflections to the year 2020.
MA Lu｜马路
"The various differences in vision are used to inspire ideas and further allow a vision to have an independent value."
Ma Lu graduated from the Department of Oil Painting, CAFA in 1982, and graduated from the Department of Liberal Arts, Hochschule für bildende Künste Hamburg, Germany. He was one of the candidates of Wu Zuoren Art Award—Plastic Arts Prize in 2006, selected to support the Planning of Excellent Talent in the New Century by the Ministry of Education in 2008, he won the Better Life Cup Chinese Art Contribution Prize at the 2010 World Aesthetic Conference.
Professor Ma Lu is the former Dean of the School of Fine Arts at CAFA, Director of the Oil Painting Department at CAFA.
Selected Publications
“Ma Lu On the Other Side”, M-Art Space, 2012
“Ma Lu 2010”, Yuan Art Museum, 2010
“CAFA Teaching Materials—Oil Painting Teaching—the 4th Studio”, Peking University Press, 2007
“Ma Lu 2006”, Lingnan Fine Arts Publishing House, 2006
“The Road of Innovation—the Western Modern Painting”, Lingnan Fine Arts Publishing House, 2003
“The Sketch Manual of Contemporary Artists—Ma Lu”, the Hebei Education Publishing House, 2000
“Artist Talks About the Master Rouault”, Lingnan Fine Arts Publishing House, 1999
“The African National Costumes”, Hunan Fine Arts Publishing House, 1998
“The Chinese Contemporary Artists—Ma Lu”, Guangxi Fine Arts Publishing House, 1996
“Drawing Techniques of the Masters of the World—Kollwitz”, the China Federation of Literary and Art Circles Publishing Company, 1992
“Drawing Techniques of the Masters of the World—Seurat”, the China Federation of Literary and Art Circles Publishing Company
Selected Exhibitions
2020 CAFA Annual Fine Arts Nomination Exhibition 2020: Qi Xiang/Zhi Xiang—Ma Lu & Lv Pinchang, CAFA Art Museum, Beijing
2014 Perception of China, Headquarter of UNESCO in Paris / Beijing Dadu Art Museum
2014 Ode, Shanghai M - Art Space
2013 Fantastic Ink and Color, Exhibition of Selected Works of Chinese Painting and Oil Painting, Venetian Gold Convention and Exhibition Center
2013 Colorful China, Milido Art Institution, Beijing, China
2013 1978—First Session of the Department of Oil Painting Launched an Exhibition to Commemorate the 30th Anniversary of Graduation, CAFA Art Museum
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The Image of 'Qi', Acrylic, Mixed Techniques on Canvas, 180cm×210cm, 2014-2020
Why do we need to summarize one’s past? Is it because of the poor ability in observing things to make oneself always feel bored? Therefore, is it necessary to change oneself? In fact, it is not due to the poor ability, but because of too much covering. Nor is it the fault of knowledge itself, but because I thought knowledge is fixed and I regard specific knowledge as the whole, forgetting that knowledge is only a process of discovery. It is far from being saturated. The process of discovery is the process of knowledge construction. The premise is to remove the cover and not to restrict the past knowledge. Concealment is used in the wrong place. In art, there is no overthrowing and repeating, but different relationships that tell various things.
I neither want to deliberately dig out nor give intentional meaning to art. Art should be logical, rather than being forced to endow any meaning. The reason is retained. Therefore, the visual appeal ranks first, the name is created and the concept then follows. The various differences in vision are used to inspire ideas and further allow a vision to have an independent value. The concept “The Image of ‘Qi’” is not Taoist enlightenment, but from the outside to the inside, to explore the root of the image. This root is called energy for the time being. It is understood that the energy of all things in nature take shape.
Turbid Wave Crushing into the Blue Sky, Acrylic, Mixed Techniques on Canvas, 110×210cm, 2017
Ten years ago, I entitled this piece “Ice Wind”. I neither finished it nor exhibited it at that time. Ten years later, I feel like I thought it through. I should regard works over the previous days as the basis and background, rather than modifying them. Therefore, “The Image of ‘Qi’ does not appear without any foundation. Instead, it does have a form of accumulation. The accumulation, whether “right” or “wrong”, will merge into a new “Image”. Each level of stubbornness requires us to find the rationale for it. The finding is discovering. And we discover new stuff in the overlap.
Clear the Delusion, Acrylic, Mixed Techniques on Canvas, 110cm×210cm, 2017
JIANG Jie｜姜杰
"All Things Turn to be Allegory to Me"
Jiang Jie has graduated from the Sculpture Department of CAFA and she currently works as a professor for the Sculpture Department, CAFA. Jiang Jie is an artist who has been active on the frontier of Chinese contemporary art, and her art uses an in-depth humanistic concern to explore people, things and objects in a state at the edge seen from a keen female perspective. Her work is usually microscopic and psychogenic, although those tremendous works of sculpture and installation are derived from her highly sensitive and subtle observation of the vulnerability and decay of life, we can always understand the irreconcilable contradictions between classical aesthetics and contemporary concepts from her work, and it is this contradiction that endows her work with a profound paradox and poetic charm. Embryo, children, women, medical treatment and education are often involved in her creative theme but she always avoids using the concept of feminism to interpret these topics and tries to place them in the vision of anthropology for observation, in her view, the issue of gender is not only related to people’s individual life status, institutional environment and political status where we live, it is also closely linked to various myths, knowledge and social landscapes in our culture, such fields of view often make her art go beyond the category of “female art” to become the thoughts of people’s co-existence problem.
Her solo exhibitions include >1.5t (2015 & 2014) respectively presented at Sishang Art Museum in Beijing and OCAT Shanghai, March Forward March Forward (2012) presented by Pin Gallery in Beijing, Pink Utopia (2010) respectively presented by Fantasia Art and Beyond Art Space in Beijing and Shenzhen, Jiang Jie Solo Exhibition at Toronto Sculpture Garden, Toronto, Canada in 2003 and at Base Gallery, Tokyo, Japan in 1998 and Critical Point at Gallery of Central Academy of Fine Arts, Beijing, China.
She won the “2009 Martell Extraordinary Artists’ Awards” in June 2009, and the “2009 COSMOPOLITAN magazine Annual Fashionable Female Award” in December 2009. Her work is collected by Fukouku Art Museum, Japan, The Women’s Museum in Denmark, National Museum of Singapore, Guangdong Museum of Art, Beijing Oriental Plaza, etc. as well as a lot of works which are in the private collections from the United States, France, Germany and other places.
Scan the OR Code to View JIANG Jie‘s Page
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Installation View of All Things Turn to be Allegory to Me, 2020
Materials: Rice paper, Tea leaves, Gauze, Resin, Wood, Iron, Bamboo, Tiles.
Size: Sculpture: 280x100cm; iron door:180x70cm, 6 pieces.
3 editions
Jiang Jie has been making adjustments to her work right up till the last night before the opening of the exhibition. She took away red-colored bamboo poles till the last one was left standing. The last red pole is limited by the height of the ceiling, so it bends over two iron prison cell doors and points to the cold working table clothed by the white tiles and casts a shadow on the tiled wall. A big sculpture object is hung over the working table. It is indescribable—it is like a bottle gourd but there is a deep cut on one side of it. It looks like a self-healing body with a breath. It could be seen either as a plant, a creature, or a human organ, such as a breast, a womb, etc. Blood vessels hide under the skin. It seems that the body is swelling and then shriveled and tired. There is no proper word to describe it. The body and the working table are surrounded by white floc threads and dotted by plant seeds.
Things created by artist Jiang Jie always dissolve our cognitive processes and mental state. The rational loses its words in the face of Jiang Jie’s work. People may get lost when try to label her with concepts of desire, body and feminism. But still, people may feel the dramatic conflicts and the tragic atmosphere out there. She has been concerned with the subtleness and fragility of lives, meanwhile nothing is fixed and determined for her. She meets her work right there and the work reminds people of some dim and ineffable memories.
Image and Text Courtesy of the Artists.
Translated and Edited by Sue and Emily/CAFA ART INFO
About the Exhibition
关于展览
The Eighteen Scenes
Reflecting the Sharing Moment | Section Four
2020艺讯网线上展览 | 第四回
Launch Date: 2020.12.30
Participating Artists
(in alphabetical order of surnames):
CHEN Hui, Hannah COOKE, Dadawa, Michael EADE, FEI Jun, Erik JEOR, JIANG Jie, MA Lu, Martina MORGER, Buket SAVCI, Jakub SIMCIK, Elvire SOYEZ, WU Didi, YAO Lu, YUAN Wu, ZHAN Wang, ZHI Min, ZHOU Li
Curator: Emily ZHOU
Visual Design: Yizhi ZHANG
Organizer: CAFA ART INFO
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