主要个展2008年 王非作品展第四回 环铁美术馆，北京2006年 王非作品展第三回 零度空间，北京王非作品展第二回 杰孚画廊，北京 王非作品展第一回 F2画廊，北京1996年 王非作品展 蓝色画廊，北京1993年 王非绘画艺术展 中国美术馆
主要群展2009年 领升2009中国美术批评家提名展 北京当代艺术馆 转向与关联09年中国水墨提名展 环铁美术馆2008年 国际能源中心艺术基金会中国当代艺术提名展 太原 北京第三届国际美术双年展 中国美术馆，北京 2007中国当代艺术文献展 墙美术馆，北京 中国水墨年度汇展 环铁美术馆，北京2007年 戒色中国当代水墨艺术展 郑州 墨缘100第二届名家邀请展 宋庄，北京 环铁时代首届现代艺术部落邀请展 环铁艺术区，北京 中国宋庄水墨同盟交流展 宋庄，北京 厌战中国 北京，1号地 中国新书写--油画水墨展 三月画廊，北京 异质的水墨中国当代水墨名家邀请展 深圳2005年 水墨精神第一展 北京 魅力中国现代抽象水墨展 北京 水墨精神第二展 北京2004年 纸上玫瑰展 北京 88艺术文献仓库展 北京，费家村 江苏画刊30周年中国画名家百人展 南京2003年 庄园水墨展 北京 今日中国美术大展 北京 名家水墨动态邀请展 北京 名家秋季作品邀请展 北京 2003水墨状态学术邀请展 北京 江苏画刊学术邀请展 北京2002年 当代中国书画家作品邀请展 北京 穿越时空四人展 北京
Wang Fei Wang Fei was born in Anhui Province, China in 1964 and now a professional artist in Beijing.Education1986 Graduates from the Fine Arts Dept. of Fuyang Teachers College 1990 Studies in Beijing Art Academy2001 Studies in China Art InstituteWork experience1992. Works in the Research Institute of the Buddhism Culture of China2000. Starts and becomes the editor in chief of the magazine Art Status
Solo exhibitions1996. Exhibition of art works by Wang Fei (Beijing)1993. Exhibition of painting works by Wang Fei. (National Art Museum of China)
Jizi: A bridge Between Chinese Traditional Art and The Present
Joint-exhibitions2009 Lead Up -The Exhibition of the Chinese Fine Arts Critics Nominations2009Museum of contemporary art beijing2005 1st Spirit of Ink and Brush exhibition. (China Millennium Monument) China Glamour exhibition of modern abstract ink and brush painting. (New York Art Space, Beijing) 2nd Spirit of Ink and Brush exhibition. (China Millennium Monument)2004. Rose on Paper exhibition. (Beijing) 88 Artistic Documents Warehouse exhibition. (Feijia Village, Beijing) Exhibition of traditional Chinese painting works by 100 noted painters in the honour of the 30th anniversary of Jiang Su Art Monthly. (Nanjing)2003 Manor exhibition of ink and brush works. (Beijing Yan Huang Art Museum) Inviting Exhibition of contemporary works by noted artists. (Beijing Yan Huang Art Museum) 1st inviting exhibition of Chinese flower-and-bird painting works. (Guangzhou) China Today grand exhibition of the fine arts. (China Millennium Monument) Inviting exhibition of ink and brush painting works by noted artists. (Beijing) Autumn inviting exhibition of works by noted artists. (Beijing) 2003 Status of Ink and Brush academic inviting exhibition. (Beijing) Jiang Su Art Monthly Academic inviting exhibition. (Beijing)2002. Tour exhibition of experimental ink and brush art in China (Beijing) Inviting exhibition of art works by contemporary calligraphers and painters in China. (Beijing) Spanning Time and Place exhibition of art works by four artists. (Beijing Yan Huang Art Museum)
Curtis L. Carter
Works Collected byNational Art Museum of China Nakagawa Museum of Chinese Art, Hiroshima, Japan Osaka Museum of Contemporary Art, Osaka, Japan
June 21, 2009
Today, the faces of Chinese contemporary art appear in many forms. Perhaps most familiar in Western circles at this moment are the theatrical caricatures of the Buddhas smile as in the works of Yue Minjun which first emerged in the 1990s, and the political renderings of Mao Zedong, for example Dong Xiwens painting Mao Declaring the Peoples Republic from Tiananmen (revised ca. 1980). Yue Minjuns painting stretches beyond the roots of tradition in search of a new artistic identity. His work leaves few traces to the literati of traditional Chinese art. The familiar images of Mao emerged during his lifetime and beyond, extending beyond the geographic and cultural boundaries of China into the West thru Andy Warhols famous rendering of Mao, 1972, 1973, mark his unique role in the political and social evolution of mid-twentieth century China. Again, the many different artists renderings of Mao bear little relationship to traditional Chinese art, as they are grounded mainly in Chinese Social Realism or some form of Pop Art, with the possibility of connections to Chinese folk art traditions.
Jizi (1942-) belongs to a very different aspect of Chinese contemporary art that is fermenting quietly alongside other more flamboyant western-driven approaches to art. He and others who chose to work in the medium of ink brush paintings are engaged in a search for meaningful connections between traditional philosophical and artistic means and the present day experience. This does not mean simply painting in the manner of previous masters. Rather Jizis paintings achieve their own sense of originality through experimentation with renderings of pictorial space, varied ink colorations, and brush strokes. His medium is brush and ink painting, or some variation in the form of constructions.
I first became acquainted with Jizis paintings during a visit to his studio in November, 2007 during a visit to Beijing to lecture at Beijing International University, the Central Academy of Fine Art, Beijing University, and the China Academy of Social Sciences. In my first impressions of Jizis paintings I experienced a powerful sense of visual energy, driven by the formal rigor and expressive force of the masterful hand of a gifted artist. Dark inks carefully layered to evoke spatial patterns marked by energized shapes, subtle tones of black to gray to white, and with occasional daubs of reds, blues giving a sense of visual and psychological order to the painting surfaces. Most impressive in his paintings is the extraordinary depth of space with multiple layers of intensity. The images can only be read imaginatively, as they are not representational works based on any real world events or objects, but products of the imagination, intended to activate in turn the imagination of the viewers.
The ink brush paintings of Jizi are thus mainly based on inner feelings or ideas rather than observations of actual scenes of nature, as is the case with traditional Chinese landscape art. His images evoke visual sensations that function to transfer the rhythmic patterns endowed in the paintings surfaces to the mind of the viewer. In the course of contemplating these works it is possible to imagine the free forms as wind driven clouds, mountains, streams of flowing water, or the clashing of rock formations that might generate powerful disruptions of the underworld. However, it is not out of the question to find in his compositions occasional symbolic architectural forms, or even symbolic animal figures placed quixotically in the midst of swirling abstract forms. One can even imagine the eye of a monster figure in some of the works. However, the main point is to experience the works as visual meditations with deeply spiritual and intellectual connotations grounded most likely in a philosophical understanding of Taoism.
Like many other artists of his generation, Jizi had to work through the challenges of the Cultural Revolution, which deprived him of the opportunity for a formal education in art. His education in art was acquired by persistence toward mastery of the brush and ink medium through unrelenting practice. His practice was augmented by diligent self-study, reading books on art, consulting with other artists, and observing master paintings in the museums and galleries of Beijing. All of this while working at various jobs including carpentry and designing art- craft works. Since the 1980s, he has devoted full time to his art.
Where do the paintings of Jizi fit into the larger picture of contemporary Chinese art? He belongs to a mainstream movement in Chinese contemporary art concerned with what constitutes Chinese painting, and ultimately, what constitutes contemporary ink painting. (Pi Daojian). The debate takes place in reference to both traditional ideas with respect to this medium and the influences of modern theories of abstraction and expression. This tradition persists despite the fact that the material medium of ink painting itself is quite, modest when compared with the complex formats of the media arts of today. Essentially, Ink painting in a narrow sense means literally painting with ink and brush, but in a broader sense it means black on white, painting of monochromatic palette. (G. Y. Wu ) Its success depends almost entirely on the philosophical and aesthetic understanding and skill possessed by the individual artist. These artists who choose to practice ink brush painting share a desire to create art that is grounded in the cultural traditions of China, while establishing meaningful symbols for life in the new China of today.
The importance of brush and ink paintings in Chinese contemporary art is attested to by the fact that leading artists of today are involved in the practice. Among these are Wenda Gu and Xu Bing. Wenda Gu co-authored a book on Chinese Ink Painting in the Twenty-first Century published by Shanghai Fine Arts Press. Both artists have participated in exhibitions featuring ink and brush paintings.
The current interest has generated a series of exhibitions devoted to contemporary ink and brush painting. These efforts to extend the artistic possibilities for brush and ink into contemporary art have been documented in numerous recent exhibitions including the exhibition, Brush and Ink: the Chinese Art of Writing, at the Metropolitan Museum of art in New York (2007), Contemporary Art in Evolution organized by BJMOCA, Beijing, with venues at Harvard University (2008, 2009) in the USA, and Ink Not Ink, organized by the Shenzhen Art Museum and presented at Drexel University in Philadelphia, USA in 2009. Numerous exhibitions on this subject have taken place in China and elsewhere. The exhibition of Jizis brush ink paintings opening in Beijings 798 Art Space (June 2009) joins the on-going discourse to establish the importance of brush and ink painting in the contemporary art world of China.