Tag: Vol.2
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Deconstructed Structure: Xu Guohua’s Welded Metal Sculptures
In mid-April 2006, during a trip to London for The 5 International Conference on Contemporary Cast Iron Art, I met Beijing sculptor Xu Guohua. My first impression of him was that he was genuine and unpretentious.
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Resonance and Dissonance: The Artistic Significance of Qi Zhilong in the Context of Globalization
After everyone has gained the right to narrate and reconstruct, the worldview is no longer a unified image shaped by dominant powers. Instead, it is a fragmented and dynamically evolving picture, pieced together through the intersubjective interactions of individuals and their mutual reconstructions with existing discourses. This new form of worldview not only serves as…
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The History of Ideas in Pioneering Contemporary Chinese Art: Being a History of Nature and a History of Society
After having discussed other forming factors of the world-picture logic as histories – the history of language, the history of time, the history of self, this article points out the fourth and fifth ways of exploring the history of ideas in pioneering contemporary Chinese art are as a history of nature and a history of…
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Yu Chunming: The Pioneer in Contemporary Eastern Ruins Art
Junping Liu DOI: 10.64212/OZBJ2752 Abstract Though the artwork of Yu Chunming is a recreation of historical images, the contemporary style reflects the developing progress of art globalization. His artwork presents an overall sense of tenderness, desolation, and mystique, as well as Chinese-ness embedded within the Eastern cultural settings, where the theoretical foundation hails from the…
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Handwritten Diary (Volume Two)
Yu Zhenli DOI: 10.64212/ZUQX7337 Editor’s Notes: After exploring Yu Zhenli’s early works, his construction of a studio in the mountains, and his Chinese abstract morphological expressionism paintings, this issue will review Yu Zhenli and the contemporary art scene in Dalian. The first article will analyze some often overlooked details in his life and work, as well as…
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Spring Snow for the Countryman: Yu Zhenli and Contemporary Art in Dalian
Li Yang DOI: 10.64212/TGEB1713 Abstract Since the passing of Yu Zhenli, many people in the art community have reviewed his artistic journey, particularly his continuously evolving creative practices and his studio transformation that integrated art into everyday life. However, his contributions to the local art ecosystem as a native artist from Dalian are equally worthy of…
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Seeking Common Ground: Journeys Landscape and Inner Realms
Jeremy P. H. Morgan DOI: 10.64212/BYPP2922 Abstract: It was from discussions with my father who was a Geographer (human-political) that I became aware of the term “Feng Shui (風水)” when we were walking in Welsh hill country looking at the landscape around us and my father explained to me the concepts that underlay Geomancy in Ancient Chinese Taoist…
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Logic Based on Science and Art History: From Concrete, Abstract to Grasp of the Void
Based on science, philosophy and art history, this paper analyzes figurative art and abstract art and renews the origin and development of figurative art and abstract art to associate with contemporary art and define the art history path from figurative art, abstract art to Grasp of the Void art.
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Traces: The Whisper of Art’s Presence
Yu Zhenli DOI: 10.64212/RANI1069 Editor’s Note:Before Yu Zhenli created his last expressionist work Women at Wedding Reception in 1989, he had already begun to create some abstract art. In the following three decades, he persisted in exploring his unique style of Chinese Abstract Morphological Expressionism. This issue features a commentary written by Liu Xiaochun, alongside an early…