Chi Qun Cui Yun Feng Wang Cheng Pu Wang Ji Wang Qi Fan Yin Mao Jian Zhang Wei
Curator Gao Yuan
Producer Lin Li,Huang Shan
The visual revolution of the late medieval Europe, where the artists like Giovanni Cimabue, Giotto di Bondone, Pietro Cavallini, Pietro Lorenzetti and Ambrogio Lorenzetti did experiment in Assisi,Rome and Siena, was developed through the efforts of Florentine artists in 15th century, such as Brunelleschi, Ghiberti, Donatello, etc. From the knowledge introduced by medieval scholars from the ancient geometry and Arab optics, to the emergence of Alberti's one point perspective-linear perspective theory, and thus people came to realize that the self-visual perception could be measured. The so-called velo is an installation for measuring the visual perception, whether through the velo or other viewfinders, or camera obscura of the baroque era, technical means has always been an important way to measure human visual perception. Human beings freed from the original experienced-based perception, and gradually reached the scientific measurement, realizing the rational leap through the advanced technology. In Renaissance Italy, the revolution of perception was expanded to the whole social space, humanist and artists together planning of the picture of "ideal city" (La citta ideale), which is under the rigorous mathematical logic of architectural layout and landscape construction. How to measure and map human perception in a particular space has gradually become the ideal pursued by humanist artists.
The contemporary Marxist theorist Fredric Jameson made a comparison of the thought process of “cognitive mapping” and the physics process of spatial location in the first place. He defined the concept of “cognitive mapping” as a process, and through which the subject of self-consciousness could be placed in a wider context of unity and this process corresponded to the ideological work. It is especially necessary to give play to such experience of "cognitive mapping" in the contemporary urban space.
An isolated city firstly could not make people measure their position in their minds, and they were not able to find the whole urban space on their own about how to expand: the development of public transportation and infrastructures were not eventually for man's own freedom of action, but for the rapid passing of the machine (such as automobiles, trams, metros, etc.). Such as a diversity of urban three-dimensional traffic networks, overpasses and underground tunnels, pedestrian overcrossing and so on, all of which squeezed the walking space of people into a relatively marginal position. Jameson believed that the dissimilation layout and planning in modern cities realized the negation of traditional perceptual localization through mechanical positioning under the developed capitalist system. "Surveying and mapping", or the " dérive " strategy of Guy Debord pointed out the gap and disparity between the existential experience and scientific knowledge, while the function of perception was to provide a way to bridge the two different dimensions.
In the art of painting, the attempt to analyze the order of transcendent art in abstract art has never stopped, from Malevich to Frank Stella. An important critic of the 20th century, Rosalind Krauss, made an analysis of the "grid" structure of modern art, to transfer the perceptual reaction of physiological optics level into the perceptual screen and symbol of the separation of the "real" world, in which the art of modernism achieved the acme in this no content, no personality, no "grid" narrative structure. Making use of a series of technical means to complete the painting has become a norm in the field of contemporary painting, especially in abstract paintings, where artists use his production of a variety of tools to achieve the special effect in the picture. But in here, the convergence of technical means and self-perception seemed to be a trend.
Under the premises of urban visual experience and cognitive order, artists participated in the art practice through various technical means and different media experiments. The artworks of them avoided the image of abstract art decoration and design production by means of technology and media to implement their plan of concept art; Artists whose purpose was to achieve visual perception beyond media were no longer limited to painting, installation or moving image. We imagine that we can trace the origin of images by mechanical or technical means, explore the hidden layers and order of vision, and realize a kind of visual archaeology of hypermedia through this exhibition.
Zhang Wei Rule 60x60cm Mineral Comprehensive Material 201
Yin Maojian 2017.9.8-2017.10.7 60x60cm Mixed media 2017
Wang Qifan No.5 Series One Returns One 54x86cm Paper-base
S.Wang Greedy201601001 78.5x108.5cm Acrylic on Canvas 201
Wang Chengpu Line No.11 80x80x18cm Acrylic 2018
Cui Yunfeng CompositionVIII 135x135cm Acrylic Canvas 2018
Chi Qun Intersection1 150x100cm Oil on Canvas 2018