On December 10, 2023, the Songzhuang Institute of Li Keran Painting Institute held a theme salon activity of "Dialogue on Su Xie Wei's Art". **Mr. Zhao Li, Deputy Dean of the School of Art Administration and Education of the Academy of Fine Arts, Professor and Doctoral Supervisor, Mr. Xi Mu, Director of the Art Industry Committee of the China Literature and Art Critics Association, Vice Dean, Professor and Doctoral Supervisor of the Li Keran Painting Institute, Mr. Ge Yujun, Secretary of the Graduate School of the Academy of Fine Arts and Director of the Teaching Department, Curator and Critic, Mr. Su Xie Wei and the guests who participated in the salon activities jointly conducted a dialogue and exchange on abstract art and Mr. Su Xie Wei's art. Mr. Shi Yuefeng, vice president of Li Keran Painting Institute and president of Songzhuang Academy, presided over the salon activities.
First from left: Su Xie Wei, second from left: Ge Yujun, middle: Xi Mu, second from right: Zhao Li, first from right: Shi Yuefeng.
Mr. Su Xie Wei introduced his creative experience at the salon.
Su Xie Wei, a native of Chaozhou, Guangdong, is a professional artist who lives and works in Beijing, Shenzhen and Sydney. Since 2008, Mr. Su has held many solo exhibitions in Shenzhen, Shanghai, Beijing and other places. Mr. Su has been exploring abstract art since 1998. In 2008, he began to hold solo exhibitions to showcase abstract art forms and the results of abstract art exploration. After 2008, Chinese elements were introduced into his works to form the "Chinese Gene" series, which gradually changed and transformed the way of expression in the subsequent explorations. In 2010, he interrupted the "Chinese Gene" series and began to create the "Feel Chopin" series, exploring the forms of artistic expression related to **, with a special focus on color and rhythm. In 2011, he began to explore the elements of Chinese landscapes, presenting new abstract art visuals in a flowing form. In 2016, a new round of creation was launched, exploring new ways of expression.
Summary of Salon Dialogue Perspectives
Topic 1: Whether there are aesthetic standards for abstract art, and how the general public appreciates abstract art
Professor Zhao Li. Zhao Li:The Salon des Arts is a charming and glamorous form of gathering, which has its roots in the 19th-century tradition of the Western cultural salon, which provided a platform for discussion of cultural topics. To discuss art in the form of a salon, to discuss abstract art, I think it has a certain open structure. Just like the definition of abstract art, everyone and every stage is inconsistent, including curators, critics, and artists in history. Combined with Su Xiewei's creative process, Su Xie Wei presents his own abstract art through his works, reflecting his life course and continuous evolution. Therefore, his abstract art, as well as its definition or evaluation, is also diversified because of its artistic characteristics and vitality. The process of exploration and creation of artists, the exploration and creation of artists in the face of canvas and art media, and the self-conclusions gradually formed are all redefining the value and role of abstract art, opening up new possibilities for abstract art, with the power of individuality and creativity, and making some definite things unclear. Therefore, I don't think it is possible to give a so-called "fixed" definition of abstract art, and abstract art itself is a constantly updated practice process. Therefore, it is important to discuss abstract art, and each exhibition and its discussion is a rare opportunity to generate new knowledge and observe new practices.
Professor Xi Mu. Ximu: The creation of abstract art is a process of exploration, and the artist is often unsure of what the final work will look like. If there is a tradition in abstract painting, in the abstract painting of Chinese painters, they are more familiar with the concept of freehand, so abstraction pays more attention to the overall grasp and perception, and injects rational things into the overall expression of sensibility;The underlying logic of Western abstract art is to grasp rationality through the deformation and abstraction of geometric shapes, and then inject its own perceptual factors. Throughout the creative process, the artist constantly pursues a balance between sensibility and rationality, not only to avoid the uncontrollable picture caused by the flood of sensibility, but also to prevent the excessive flooding of reason from causing the picture to lack vitality. The pursuit of this balance is an important issue that abstract artists constantly explore and solve in their creation, involving multiple levels such as abstract elements, abstract technology, abstract expression and abstract spirit.
Secretary Ge Yujun.
Ge Yujun: According to Mr. Zhan Jianjun's point of view, the question of whether abstract painting is good or bad is closely related to the artist's cultivation. He believes that artists must have a solid artistic foundation, have a high artistic quality, and maintain a grasp of the sense of form, color, and composition of the picture when creating abstract art, so as to create aesthetic abstract works. In other words, an abstract artist must have the background color of artistic aesthetics, artistic creation, and artistic language refinement, and random and unconscious splashing cannot produce paintings with abstract meaning.
Since the first half of the 20th century, Chinese abstract art has produced several important basic points, such as Lin Fengmian to Wu Dayu, Wu Guanzhong, Zao Wou-ki, ** Qun and other contexts, and after the 1980s, a group of artists in Germany such as Mr. Ma Lu integrated the abstract elements of German Neo-Expressionism with Chinese tradition, forming another development pathThe emergence of abstract ink and experimental ink painting in the 80s has aroused widespread discussion, and the experimental ink paintings of artists such as Liu Zijian, Zhang Yu, Duan Xiucang, and Shi Hu echo the spiritual connotation of ancient Chinese literati to a certain extent. In addition, in terms of the application of mixed media in abstract painting, for example, in 1987, Professor Meng Luding proposed the concept of "language purification", which dissipated the previous realist painting's focus on the definite meaning of creation through the use of various materials (such as hemp rope, splicing) and textural elements. Subsequently, mixed media painting became an important creative field, which is closely related to abstract painting.
Abstract painting gives people a sense of irrationality in the formal language, but it is very rational in the production process. Therefore, when evaluating abstract paintings, we should not only pay attention to the artist's cognition of art and culture, but also look at his use of formal language and the heritage embodied in his creation.
China Gene Series 4, Oil on canvas, 165cm, 145cm, 2007.
China Gene Series 16, Oil on canvas, 165cm, 145cm, 2007.
China Gene Series 19, Oil on canvas, 200cm, 435cm, 2008.
Topic 2: How to view the artistic characteristics, artistic language and artistic value of Su Xiewei's abstract artworks
Ximu: Mr. Su's paintings are impressive. If we want to summarize the characteristics of his paintings, the following three points are worth paying attention to: First, his paintings are abstract and innovative with cultivation. His innovation is full of cultivation, and he expresses his feelings by restraining his own techniques, and integrates personal cultivation into his paintings. Second, the tone of his paintings is heavy, showing the depth of his thinking. The theme expressed in each painting is a thoughtful way of thinking, with rich meanings and delicate perceptions. The third is that his paintings all have a specific semantic behind them, not just an emotion, a feeling. Through the amount of information in his paintings, he gives the viewer more possibilities and more feelings about the results. While expressing his own ideas, he provokes people to think and explore more possibilities.
Ge Yujun: Mr. Su's abstract paintings have a great continuity with the creations of abstract artists in the 80s of the last century, and at the same time, they also show a certain distance. In the development of Chinese art, there are two language systems: realistic painting and abstract painting, realistic painting emphasizes the definite expression of meaning, while abstract painting in the last century pays great attention to the dissolution of the meaning of the picture and the pursuit of process, incompleteness and immediacy. However, to a certain extent, Mr. Su's paintings represent the creative trend of a group of artists since the new century, that is, the reconstruction of the meaning of abstract painting, rather than the dissolution of meaning. He is a well-rounded artist, focusing on the advancement of technology, artistic concepts and self-interpretation. His works pursue linguistic forms, focusing on the different shaping of heaven, earth and earth, as well as the reuse of written images. The quest for linguistic form can be felt in his works.
Mr. Su's abstract paintings explore the expression of formal language and the reconstruction of abstract meaning, and show elements such as workmanship, materiality, and black-and-white contrast. His works also present the process of self-inner exploration and individual discovery, and at the same time incorporate the concepts of Eastern philosophy. Mr. Su's works show a process of rational evolution and construction in the midst of uncertainty and irrationality. In addition, he also returns to the expression of ancient Chinese philosophy, and his creation not only fits with the current construction of artistic discourse, but also further stimulates our thinking about the terminology of Chinese art criticism.
Zhao Li:: To truly understand an artist, in addition to carefully observing his work, it is also necessary to understand his personal experience, creative process and creative traces. In fact, we especially hope that the artist and his works appear in front of us at the same time, which is the best opportunity for us to fully understand art, that is to say, the "presence" of the artist is very important for the "existence" of art. Abstract art gives artists the freedom to create, allowing the individual to become the master of the spirit, and the existence of abstract art is related to science and modernization, and at the same time has a kind of "reading" value. Abstract art also advocates a dialogue with the audience. Su Xie Wei is a "constructive" artist, representing the characteristics of artists who have responded to China's opening up since the reform and opening up, but he chose to respond with abstract creations. The value of an artist lies in his continuous creation, and in his ability to combine artistic practice with his daily thinking and exploration. In general, abstract art is considered as a way of free creation, a unique expression of ideas, and a value for personal exploration. At the same time, abstract art also implies the exploration of the internal regularity of art, giving priority to concept and language.
Feel Chopin 9, Oil on canvas, 165cm, 145cm, 2010.
Feel Chopin 15, Oil on canvas, 145cm, 125cm, 2010.
Feel Chopin, 17, Oil on canvas, 165cm, 145cm, 2010.
Topic 3: The current situation, characteristics and trends of abstract art development in China's current art system
Ge YujunSince the 80s, China's artistic creation has shown diversified characteristics, meeting the artistic aesthetic needs of different levels and different people. The diversification of Chinese artistic creation and the integration with technology have enabled artworks to better meet the needs of the audience and provoke thinking. The development of modern art is closely related to the progress of science and technology, and the introduction of new materials, methods and media makes artistic creation present a relationship of innovation and iteration. For a work of art, it's important to think about what the viewer wants to get out of it. In the past, there was more emphasis on works of definite meaning, but now audiences are more interested in works of art that inspire their imagination and creativity.
Abstract art reflects more of the artist's personal upbringing and unique narrative style, and has less resonance with the audience's personal experience. However, the openness and multiple interpretations of abstract art can arouse the audience's thoughts and feelings. We should be optimistic about abstract paintings entering the market and gaining more attention.
XimuAbstract art originated in China from painters such as Wu Dayu, and formed a development vein through the development of Zao Wou-ki, ** Qun, Wu Guanzhong and others. These painters express their freedom and diversity of creative possibilities through abstract art. Abstract art not only frees painters in their creations, but also frees them to create a social atmosphere. It makes people feel the freedom of society through free expression, behavior, and appreciation. Abstract art is also more easily in line with international standards and has an international way of expression. The development of abstract art demonstrates the diversity and inclusiveness of society. From the older generation of abstract artists to the current new forms of expression combined with technology and digitalization, abstract art has a transformative power to change and participate in society. Abstract artists, such as Ms. Su, are aware of their own existence or not, reflecting different meanings from both the work and society. As abstract painters, they both produce the results of individual actions and have the responsibility to contribute to society.
Chinese abstract art shows the freedom and inclusiveness of society through free expression and pluralistic ways. At the same time, abstract art also has the characteristics of internationalization, and the combination of technology and digitalization presents a new form of expression, bringing a transformative force to society. Abstract artists also recognize the importance of their presence to the work and social significance.
Zhao Li:At present, the research on Chinese abstract artists is still relatively weak, and more attention is paid to definitions, concepts and individual cases, while there is a lack of attention to the living conditions and creative trends of artists in terms of criticism and criticism. In foreign countries, there are more research and methods that can be used for reference. For example, the research on the relationship between abstract art and the art market in Europe and the United States is very distinctive. One mainstream view is that Western abstract art not only promoted the course of art history, but also promoted the post-war reconstruction of the Western art market and shaped the new center of the global art market, centered in New York. In addition to the factors of politics and the Cold War, the overall structure of art creators, galleries, collectors, critics and art museums has gradually taken shape around Western abstract art, and the market mechanism in it has promoted the dissemination, recognition and sharing of abstract art. Through the study of this, we should pay attention to what kind of mechanisms and methods can be effectively combined with art to create cultural achievements that are in line with Chinese characteristics.
In addition to the market mechanism, abstract art should also pay more attention to the exhibition space and the relationship with the audience. Taking Newman and Rothko as examples, abstract art can create an immersive emotional experience, which can create a great and far-reaching impact, especially on the emotions of contemporary people.
Enlightenment 25, Oil on canvas, 165cm, 145cm, 2015.
Enlightenment 32, Oil on canvas, 145cm, 125cm, 2015.
Enlightenment 46, Oil on canvas, 125cm, 145cm, 2015.
Topic 4: The market performance of abstract art in the Chinese art market and the suggestions for public investment in collecting abstract art
XimuTo talk about this issue, we can't talk about the changes in the environment we are facing after the epidemic and the rise of aesthetic culture. In this process, we can observe the deconstruction of aesthetic evaluation standards and principles, especially the rise of abstract painting. Take Wu Dayu, Zao Wou-ki, ** Qun, Wu Guanzhong as an example, their market ** has changed dramatically in a few years. This shows that the promoters are adapting to the general trend of the market, and the background behind this change is the rise of aesthetic culture. In the past, the Chinese painting market has undergone a transformation from recession to prosperity, and generally experienced a process of ancient art, modern art and contemporary art, while contemporary art has entered a new space for contemporary development, the market is developing towards multi-polarization, and the market scale is expanding. In recent years, the development of the market is not only diversified, but also multipolar. Diversification refers to the different distribution states of the art market in a specific context, while multipolarization is the development pattern and opportunities generated in different contexts. Therefore, the traditional aesthetic concept is still alive, and at the same time, new aesthetics and new evaluation standards are becoming more and more important. The development trend of the art market is to shift to multipolarity, which is happening in the process of more new collectors, more new formats, and more aesthetic culture. This shift may manifest itself in the form of trading methods such as ** trading and digital trading, which is the mainstream of how we observe changes in the market.
We can see that the art market is moving in the direction of multipolarity, which is the result of the transformation of aesthetic culture, and this transformation will manifest itself in different ways of trading.
Zhao Li:Judging from the current market situation, painting is still the mainstream art trade category. This situation is even more pronounced in times of overall market recession, whether in the primary or secondary market, and the conservative market concept makes painting occupy a dominant market position in both trading and collecting. However, with the improvement of the economy and the diversification of the market, this phenomenon may slowly reverse, although it has not yet happened.
From the perspective of abstract art, the American art market has become more and more important in the market after the 2008 financial crisis, which has intensified its centralization in the recovery of the American art market. An interesting phenomenon is that before the 2008 financial crisis, the star artists in the American art market were represented by Andy Warhol, with "Pop Art" as the main axis. But after the 2008 financial crisis, there was a definite adjustment in the artists** represented by Andy Warhol. In the midst of such adjustments and rebranding, the American art market finally chose abstract art as a breakthrough. Over the past decade, abstract artists such as Rothko and Cy Thembley have become the new hotspot in the American art market. Since 2010, the market for Western abstract art** has also influenced Asia. Japanese "concrete" and Korean "monochrome" artists, in.
In the fifties and sixties, most of them participated in art activities in the United States or European countries, and they basically integrated into the development process of modern art in the West. In addition, Chinese artists of Chinese descent, such as Zao Wou-Ki and **Qun in the Asian art market, can also be classified as such a whole**.
For the art market, the "financial crisis" of 2008 and the "pandemic" of 2020 cannot be seen as mere social or economic events, but the fact is that behind these turning points often lead to drastic changes in aesthetic culture. The change of aesthetic culture is often the transformation of action, appreciation and cultural consensus in a specific context, which ultimately leads to or promotes the purchase behavior or the direction of choice.
In China, however, the abstract art market has not yet formed a clear concept of market segments, and there is no clear signal for the entire market. As Xi Mu and I have pointed out in our research, the Chinese art market needs to sort out the creative groups and historical clues of abstract art, and it needs to form an evaluation system and market mechanism with abstract art as the core.
Freedom in 01, Oil on canvas, 240cm, 760cm, 2022.
Self-Nature, 03, Oil on canvas, 90cm, 80cm, 2020.
Origin 10, Oil on canvas, 120cm, 360cm, 2017.
Hun 08, Oil on canvas, 120cm, 180cm, 2016.
Origin 08, Oil on canvas, 145cm, 165cm, 2009.
President Shi Yuefeng presided over the salon activities.
On-site guests: Mr. Qi Zhilong, Mr. Lin Mo, and Mr. Suo Quan participated in the speeches and exchanges respectively.