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Ink Studio(墨斋)
2014.09.21 Sun - 2014.11.15 Sat
Opening Exhibition
09/21/2014 16:00
Red No. 1-B1, Caochangdi, Chaoyang District, Beijing, China(中国北京市朝阳区机场辅路草场地艺术区红一号B1, 邮编100015)
+86 135 1100 3034
Opening Hours
Tuesday – Sunday 10.00am – 6.00pm(周二至周日 上午10点 - 下午6点)

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Ink Studio Group Exhibition - INK AND THE BODY
[Press Release]

Curated by Nataline Colonnello and Dr. Britta Erickson

Exhibition Dates: September 21 – November 2, 2014

Opening (Media Reception): September 21, 2014, 2:00 – 4:00 pm

Opening (Public): September 21, 2014, 4:00 – 6:30 pm

Participating Artists:

Chen Haiyan, Dai Guangyu, Huang Zhiyang, Li Jin, Qian Shaowu, Tao Aimin, Wang Dongling,Wang Peng, Yang Jiechang, Zhang Chunhong, Zhang Yu, Zheng Chong bin

Ink Studio’s premier group show, Ink and the Body, launches a planned series of three exhibitions examining ink painting in terms of therelationship between the subject and both the artist and viewer, from a henomenological perspective. The series consists of Ink and the Body, Ink and the Mind, and Ink and the Environment.

Dai Guangyu, Absorbing, Being Absorbed, Performance, 1999 Chengdu

Dai Guangyu, Absorbing, Being Absorbed, Performance, 1999 Chengdu

Ink and the Body explores the multivalent interactions between the human body and Chinese ink: of necessity, the body is the vehicle through which art is both created and perceived. Ideally, the experiencing of an ink painting that was created by an artist in full, instinctive control of the brush (or “in the zone”) can mirror the mental state involved in its creation. Thus, Ink and the Body is the logical entry point for an extended examination of the profound issues central to Chinese ink painting.

Much of contemporary Chinese ink painting relates to the body not only as the vehicle of creation, but also in more direct terms. At its most basic, this takes the form of direct impressions of the body, for example in Wang Peng’s ‘84s Performance—the first instance of nude performance art in China—and Zhang Yu’s ongoing series of fingerprint paintings, a fingerprint being an age-old identifying marker.

The body becomes the medium of the exquisite and challenging performances by Dai Guangyu, in which ink is metaphorically conceived as nourishment and ritual fluid for the individual’s existence.

Tao Aimin focuses on the body’s action on the world, capturing the imprint of repetitive activity in her rubbings of old wooden washboards. Both the senior sculptor, Qian Shaowu, and renowned painter Li Jin paint images of the body, the latter humorous musings on the place of an individual in ontemporary Chinese society, and the former based on European training in three-dimensional figural modeling, translated into ink painting. Chen Haiyan’s vivid images arise from her dreams, and reflect an understanding of color inspired by both the Expressionists and by mid-century master Zao Wou-Ki’s encouragement of her personal color sense.

Huang Zhiyang, Lover's Library-Our First Photo Together, 2014 Ink on silk, 220 x 140 cm

Huang Zhiyang, Lover’s Library-Our First Photo Together, 2014 Ink on silk, 220 x 140 cm

Other artists focus on aspects of the body as metaphor; for example, Zhang Chunhong’s finely detailed renderings of her and her sisters’long hair make statements concerning relationships and the place of the individual in the world. Huang Zhiyang captures the sense of universal energy manifest in the body, and Zheng Chongbin considers the psyche as expressed via abstracted human forms. Yang Jiechang further abstracts the body in his starkly expressive Three Men Walking, based on a statement by Confucius. Finally, master calligrapher Wang Dongling reflects on the relationship between the body, the act of wielding the brush, and the different styles of calligraphy developed over the millennia.

The three exhibitions, Ink and the Body, Ink and the Mind, and Ink and the Environment, will take place over the next two years.

Yang Jiechang, Massacre, 1982 Ink and color on Korea paper, mounted on canvas, 208 x 207 cm

Yang Jiechang, Massacre, 1982 Ink and color on Korea paper, mounted on canvas, 208 x 207 cm

Together, they will present a comprehensive assessment of the philosophical reach of Chinese ink painting. Each will be accompanied by a brochure, with a book to be produced at the close of the third. Ink Studio’s series of books on ink painting all are researched in depth and copiously illustrated. They are distributed by the major U.S. distributor of books on contemporary art, D.A.P.