The opening of the eight -person painting exploration exhibition of Guangmei, watching the "scenery of life" together

Recently, "Watch the scenery together: Life Landscape -Eight -person Painting Exhibition" from the College "was exhibited at the Academy of Fine Arts City Art Museum and held an opening exchange event. The exhibition period until October 7.

It is reported that the theme of "Life of Life" was extracted by the exhibition and exhibition. Observation.

exhibition site

Many of the eight artists who participated in the exhibition have experience in studying or visiting universities such as the Central Academy of Fine Arts and the Chinese Academy of Fine Arts, including ink, oil painting, printmaking, etc. creative media. Natural, historical, and social methods are also different.

Hou Weiguo's "Don Quixote" version of the corner material

Yin Shuangxi, a professor at the Central Academy of Fine Arts, the curator of this exhibition, Yang Xiaoyan, a professor at the School of Art of Sun Yat -sen University, the dean of the School of Art and Humanities of Guangzhou Academy of Fine Arts, Hu Bin, the academic host of the exhibition, Chen Xiaoyang, executive deputy director of the Art Museum of Guangzhou Academy of Fine Arts, Hong Rongman, deputy curator, Liu Ke, Chen Chaosheng, and Hu Xianwu, deputy dean of the School of Painting and Art, and participating artists Fu Zhiming, He Haifeng, Hou Weiguo, Jin Yan, Lei Shiming, Li Changxing, Soviet Army, and Zhang Zhenjiang participated in the exchange activities.

The event was chaired by Hu Bin. He said that the artists in the college not only paid attention to the creation of the art itself, but also combined with relevant topics to conduct theoretical research and teaching. Long -term reading and thinking need to be read. The exhibition aims to present how they are around the college teaching, subject research, related artistic thinking and creations, and the diverse possibilities of subject practice.

Yin Shuangxi believes that the theme of the exhibition is symbolic and also represents a steering of contemporary art creation. The main body of Chinese art creation since 1949 has always been character painting, but in recent years, a new steering has shifted from paying attention to the relationship between people and society to focus on people and nature. Today's creation of "landscape" has been classified by the theme of the traditional college, becoming a new trend of art creation.

Chen Xiaoyang said that this exhibition is a research method of "old -fashioned new questions" to present a variety of experiments on how eight college artists conducted in different art media. They not only explore the viewing of "outward", but also explore a "outward" view, which stimulates us to re -watch and review the artistic creation and research on "landscape".

He Haifeng's "Pseudo -cloud Waterfall" color ink silk book

Yang Xiaoyan believes that art is a medium that condenses various social communication methods. From this perspective, the landscape paintings and western landscape paintings in Chinese traditions are two completely different vectors, with different functions. Landscape paintings are the carrier of literati play and communication, and Western landscape paintings gradually became independent until the 18th and 19th centuries. We use the concept of Western landscape painting to understand the concept of traditional Chinese landscape painting, and we will ignore their respective functions and conditions. Understanding the differences between the two will help us re -examine the art exploration and attempts that are currently ongoing.

Hong Rongman's experience of learning and visiting, talking about the performance of the French painter Cezhang's scenery of Saint -Veda Mountains, and how contemporary artists face the same scene how to re -create the same scene. He believes that every artist has his own unique scenery, which is not only the starting point of artist creation, but also the perspective and method of artistic innovation.

Hu Xianwu said that the exhibition not only showed the artist's exploration in painting medium, language, and spiritual connotation, but also broke the boundaries of the art media in curse and innovation. From the perspective of printmaking creation, he specifically discussed his views on the works of the participating artists Hou Weiguo and Li Changxing.

Jin Yan "Shinatong" paper ink

Liu Ke believes that the painting system of Waiguang sketching and Impressionism is a breakthrough in artistic creation. Compared with the character painting, there are fewer themes of landscape painting, and they are more inclined to perform in terms of picture structure and color liquidity. Its artistic language is closely associated with the concept and expression system of artists, and it is also more free. At the same time, he suggested that the exhibition also pays attention to the exploration of landscape sketching.

Participating artists Fu Zhiming, He Haifeng, Hou Weiguo, Jin Yan, Jin Yan, Lei Raiming, Soviet Army Rights, Zhang Zhenjiang introduced their own creative concepts, techniques, materials, etc., involving various art media such as ink, oil painting, printmaking, and watercolor. They all have a more focused research topic, and they have different ways to cut into nature, history and social populations.

Text/Guangzhou Daily · Xinhua City reporter Li Qiaorong

Picture source: organizer

Guangzhou Daily · Xinhuacheng Editor Dai Yujing

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