卢士刚 苏男初 东奴 马利 丁一军 第1次展览工作讨论会
In early August, Yijun Ding explained to us about his new theme with the videos and pictures on Wechat Groups and internet in Dapu. In each of his completed series, we can appreciate his ability to achieve goals. It is rare that Ding can always give full play to his potentials full of inheritance and influence in the contemporary art circle. He can always exert his personal intuition to realize his own intentions getting rid of embarrassment. He sometimes paints, sometimes makes pottery, and sometimes fiddles with a lot of wood, but he is never constrained to the material. He can always present his ideas by mobilizing the potential of various materials.Unlike traditional art, there is a very sloppy game rule in contemporary art. It seems to acquiesce to open attempts in concepts and techniques. But in fact, you may either be out of the game because you do not obey the rules, or you may be lost because you abide by the rules. Therefore, in my opinion, it is a balanced game between abiding by rules and anti-system, which undoubtedly is also a challenge faced by Ding .并非丛林 装置作品 2019 大浦当代艺术馆
If we say that art is the lowest invention in constructing of human cultures, from the beginning, this invention was created by making full use of the principle. The shapes and traces of natural objects can project people’s common feelings. Thus, human beings can realize memory and communication through the objects they create. This creation is not only the beginning of art, but also the beginning of written language and human history.
It is not only the first glimmer of artistic creation to "supplement the pen" with the aid of "resemblance" of natural objects. This phenomenon is called "projection and supplement" with the explanation of Gombridge and the school of art science. It is also a creative method that lasts for the longest time.In the stone carvings of the tomb of Qubing Huo, which are known as "Splendid Wonder", we can also find the way to use the shapes of nature and take advantage of the situation to be "images of objects." At the same time, it is always the foundation concept of traditional Chinese culture, which acts in accordance with nature and does not exceed natural forces.When it comes to "projection phenomenon", whether it is a bison, a reindeer painted on the rock wall by prehistoric people or a assembly pattern of contemporary artists on canvas or waste machines, they are actually based on the concept of the people of the corresponding era. The art is the externalization of the heart and mind. In this sense, every time we humans look at the world, there is no exception but the expression of our mind, which has the mark of the times.
并非丛林 装置作品 2019 X空间
The series to be displayed this time still continues Ding’s succinct but witty style. However, it is different from his combination of instrument expressiveness and painting in the past, and from the way that natural objects are automatically presented through the system as ready-made art in contemporary art . He seems to use the primitive and Chinese traditional instrument carving art with the natural shape as the starting point, through graffiti and embellishment to play a "borrow the branch to return the soul" charming effect.
He sketched different expressions on the grotesque roots: or surprise, or flattery, or pride, or cunning; once the roots had expressions, flesh-colored branches became bodies themselves. Therefore, the roots seemed to have ghostly spirits full of blood and vitality. They became odd creatures full of desires. They seem to be strange and familiar. They are strange in shapes, but they are familiar with the most indescribable and ubiquitous body language and facial expressions,which are projected on these shapes in our time.When he tried to further strengthen his theme, a new idea came into being. So he arbitrarily drew countless pink monsters in a black background on a whole wall. A similar absurd jungle world like the "Netherland Proverbs" came to the fore. This mural and the theme of Little Monster refers to each other, turning the entire exhibition hall into an imaginary dark jungle. This jungle makes us can not help but think of our own situation. In this regard, Ding has never been a formalist. You will notice that his paintings, pottery, and woodwork in his new series are prolific and constantly introduced. The works are the images of the worldly beings, which seem funny full of nonsense movements and expressions. Actually what he would like to share with the public is his perspectives on the anti-Utopian era and all sentient beings.It is such a good idea that Ding’s works could be exhibited in Tuff Contemporary Art Museum. This white, minimalist building is surrounded by small department stores, foot wash rooms, deli food shops, an old residential community and the winding Fuhe river in Tianfu New Area. It is like a chapel in a European village, which provides a spiritual shore for the inhabitants of the city. Let's imagine those takeaway delivery men, noodle shop owners, the rich second generation and retired section chiefs, especially those children who are not deeply involved in the world....
并非丛林 7800×3100 绘画 2019
They may seldom have the chance and mood to go to a large and somewhat chilly place like Intercity Exhibition Hall. Perhaps they are more willing or it is easier to enter this more humanized design space rather than museums. When they see those strange “Little Monsters”, I think they may feel new or perhaps surprised....What else would they think of? I don't know. But there is no doubt that when they mobilize their perception and imagination trying to understand these works, the interaction and construction of new art is about to begin.
策展人丨崔付利 学术观察丨卢士刚 展览统筹丨东奴
Tuff Contemporary Art Meseum
Preview reception丨15:00 p.m. on December 31, 2019
Open to the public丨31 December 2019-31 March 2020
Exhibition venue丨No. 79 Xiangyang Street. Huayang
Exhibition time丨December 31, 2019 - February 15, 2020
Exhibition venue丨856 Tianfu First Street, Chengdu High-tech Zone