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Chinese Painting from No Name to Abstraction: Collection Ralf Laier

Choi, Cody: Mr. Hard Mix Master. Noblesse Hybridige

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Ecker, Bogomir: Man ist nie allein

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Eric Hattan Works. Werke Œuvres 1979–2015

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Chinese Painting from No Name to Abstraction: Collection Ralf Laier
Texte Paul Moorhouse, Kuiyi Shen, Zhang Wei, Gespräch zwischen Ralf Laier und Feng Xi


Englisch
Hardcover
24 x 30 cm
220 Seiten
148 Farb- und 6 Sw-Abbildungen
978-3-947127-32-0
60,00 Euro

 

Durch das Buch blättern

 

Die Geschichte der zeitgenössischen Malerei in China beginnt während der kulturellen Revolution: Junge Menschen treffen sich in den Parks von Peking, um dem Klima der politischen Repression zu entkommen und kleine Landschaftsbilder zu malen. Die Kunstakademien sind geschlossen, westliche Kunst ist nur unter der Hand bekannt, und so findet die Gruppe um Zhang Wei, Ma Kelu, Li Shan und Zheng Ziyan in ihren Bildern zu einem Ausdruck der persönlichen Freiheit. Ausstellungen finden geheim statt, bis sie sich 1979 unter dem Namen No Name Group der Öffentlichkeit vorstellen. Bald gehen die verschiedenen Künstler ihre eigenen Wege, und in den 1980er Jahren finden einige Maler zur Abstraktion, unter ihnen wiederum Zhang Wei und Ma Kelu, sowie Zhu Jinshi, Feng Guodong und Tang Pingang. Sie entwickeln ihre jeweils eigene Bildsprache zwischen großzügigen Flächen und oft minimaler Geste, abstraktem Expressionismus und chinesischer Tuschemalerei.


No Name und die Pekinger Abstraktion bilden die Schwerpunkte der hier vorgestellten Sammlung von Ralf Laier, der in einem Gespräch mit Feng Xi von seiner Passion für diese Kunst und persönlichen Begegnungen in China erzählt. Texte von Kuiyi Shen und Paul Moorhouse liefern den Hintergrund für das Verständnis dieser beiden Epochen. Und ein ausführlicher Anhang mit Notizen der Künstler über die eigenen Werke und Werdegänge sowie anderen wichtigen Quellen liefern einen Blick von Innen auf diese Bilder einer anderen Moderne.

 

OBSCURE DEPTHS: ABSTRACTION IN CHINESE ART, 1979–1986
(Auszug aus dem Essay von Paul Moorhause)


During the early 1980s, a small group of painters living in Beijing instigated nothing less than a revolution in Chinese art. The radical nature of the changes that they brought about, and the relative swiftness with which these developments occurred, may be grasped in an early figurative painting on wood made in 1978 by Zhu Jinshi, one of the pioneers of the so-called Beijing Abstraction Movement. This intimate still-life comprises a jug and a pair of apples enclosed within the folds of a piece of cloth. The painter’s indebtedness to Paul Cézanne is clear in the carefully constructed composition and firm modeling of the objects. However, this modest image is on the reverse of the panel. In 1982, Zhu used the other side to create an entirely different kind of painting. In Nolde Blue, he relinquished recognizable subject matter completely. Instead, the entire surface comprises agitated brushstrokes—primary blue, ultramarine, and white—that appear animated, as if in constant motion. The influence of Emil Nolde—another master of Western Modernism—may be detected in Zhu’s use of glowing colors. But, unlike Nolde, the medium and movement of paint alone form the work’s ostensible subject, defining Zhu’s advance into the new territory of abstraction.


As this comparison suggests, within four years Zhu had reinvented his approach. Having in the earlier painting embraced figuration reminiscent of Post-Impressionism and Expressionism, with Nolde Blue he began to explore non-descriptive expression in an entirely personal and distinctive way. This transformation is remarkable given that, according to Zhu’s own account, until the late 1970s he was unaware of Western Modernism. Nor was he alone in embarking on this exploration of hitherto unsuspected territory. The painters Zhang Wei, Ma Kelu, Tang Pinggang, Qin Yufen, and Feng Guodong were kindred spirits. In common with Zhu, they also abandoned observation and iconic representation for an engagement with abstraction, creating paintings that had no obvious roots in nature. Collectively, they would take Chinese art in a new direction. This, however, raises questions: How had this advance come about? And what is the significance of the innovative works that they produced?


These artists’ exposure to Western Modernism, as well as a profound involvement with their own culture, underpins the complex development of their work and its highly idiosyncratic nature. During the 1930s, an earlier generation of Chinese artists had studied in Paris, forging close links with the city’s avant-garde. During the Cultural Revolution, however, this changed when connections with Western art were completely severed. Produced in defiance of official restrictions, the light-filled landscape paintings made by Zhang Wei and Ma Kelu during the 1970s were, for that reason, a vital lifeline. In the absence of direct contact, and even lacking reference books or catalogues, the links they maintained with impressionist models evidently drew on whatever material and knowledge survived from their Chinese predecessors’ heyday. Following the political and economic reforms spearheaded by Deng Xiaoping after 1978, the cultural landscape in China then underwent a further convulsion. Renewed contact with the West led to the availability of texts that shed light on the Modernist canon.


Among the books that now appeared in translation, the most influential was Herbert Read’s A Concise History of Modern Painting (1959). Referring to “the moment of liberation” when Western artists relinquished their historic allegiance to depicting the observed world in literal terms, Read observed: “Art has always been abstract and symbolic, appealing to human sensibility by its organization of visual and tactile sensations. But the vital difference consists in whether the artist in order to agitate the human sensibility proceeds from perception to representation; or whether he proceeds from perception to imagination, breaking down the perceptual images in order to re-combine them in a non-representational (rational or conceptual) structure.” In his account of the extraordinary developments that occurred at the end of the century’s first decade, Read evoked the prospect of an art that would exist on its own terms, freed from description, with an immediately expressive character. For those Chinese artists who had longed for liberation from the strictures of Socialist Realism, this vision of abstract art, characterized as “images that can be freely organized to appeal directly to human sensibility,” appears to have been incendiary. Indeed, the movement that would become known as Beijing Abstraction may be seen in the light of the progressive impulse that Read described. Although each of the artists within its orbit would pursue an individual path, their shared commitment to the creation of non-representational structures, and direct engagement with “human sensibility,” are defining characteristics of the paintings they made…