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31/1/2015

Two Exhibitions

Today Art Museum, Beijing

Kim Byung Jong : Song Of Life
Curate by Gao Peng


When we see Kim Byung-jong's art works, it feels as though expressiveness of life and under the expressiveness, we could find the spirit of Professor Kim's succession of tradition and progress besides innovative technique of expression and method of expression.

Korean artists, expecially the artists of the day always have special oriental emotion, these emotion certainly proved in professor Kim's art works. The traditional Asia arts have a thread of connection that is from same history, even though it looks different ideas. Specially, the meaning of poetic mood and painting's atmosphere, lyrical language, and the philosophy about unity of the God and man, a view of nature that the expression of oneness of object and subject, and indissociable oriental aesthetic idea, these have been leading the essence of the painting with a long history of Korea, China and Japan. It looks simple, but there are mysterious brush line and stroke, and it drew emotion of infinite variance.

These profound and mysterious of difference might seem like a purpose of freehand simple drawing law, and it is the most distinguishing difference between Western art and Oriental art in the industrial society of today. Professor Kim's art work have 'cheerfulness and vividness'. He wanted to expression of existential life, then he realized it by the way of the 'freehand simple drawing'. He draw a delicate stroke of the brush, the painting expressed consciousness in out of awareness, and it has been more clearly proclaimed about praise to life as painting, it seems like there are no reason that flower is not necessity proportional to flower. The art work put foundation in the oriental aesthetic ideals that includes calm, graceful, fascinating without considering about what kind of preposterous colors and lines they used. In fact, the latest art works are showing in further 'Zen meditation', and professor Kim's art works are shown by traditional sentence and seal. therefore, it appeared artist's traditional aesthetics and its esthetical respect and accession by becoming one with poet, lettering, painting, seal. ——by Curator Gao Peng

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The Transformation of Canadian Landscape Art Inside&Outside of Being
Curate by: Zhou Yan、Yang Chao


As shan shui hua did in China, landscape art has played a major role in early Canadian art history. During the 1920’s, the Group of Seven painted the “wilderness” of Canada: their work has been employed by government and institutions to create a unity narrative across the country, which still persists in the popular imagination today. Nevertheless, some contemporary Canadian artists, in a dialogue with their history of art, have transformed the landscape genre into a much more diverse practice.

A number of overlapping themes become apparent in this exhibition: the idea of an information landscape; explorations of the historical, cultural, political resonances of the genre; internal, imagined landscapes of a psychological nature; emotional and historical relationships to the land; and finally, meditations on our impact upon it.

As you experience this exhibition, consider what perception of Canadian landscape art is developing in your mind: has it changed from what you originally conceived? Consider too how Canadian landscape art compares to Chinese traditions and contemporary art of this type: what parallels and differences do you perceive? We hope this exhibition can create a rich and meaningful dialogue between Canadian art and Chinese art, one that can embrace both the past and present art of both nations, and awake an awareness of facing a shared reality. We now live in a radically changed world of nature, in a crisis which requires that we transform ourselves.

Image: invitation

Opening: 1 February 2015

Today Art Museum,
Building 4, Pingod Community,
No.32 Baiziwan Road, Chaoyang District,
Beijing
Opening Hours: 10a.m.-6p.m

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