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“第十届深圳国际水墨双年展”暨“第九届深圳水墨论坛”

  • 展览海报
  • 《半亩方塘》 董小明 可变尺寸 2019年 水墨书法声像
  • 《2016-2018》 方力钧 364x580cm 2018年 纸本水墨
  • 《天象·芒种》 谷文达 80x50x70cm 2017年 儒石
  • 《风袭》 刘庆和 150x230cm 2018年 纸本设色
  • 《殿堂祥云》 毛冬华 直径204cm 2018年 纸本水墨
  • 《向远方》 田黎明 96x130cm 2017年 纸本水墨
  • 《后山图——长堤依雪图》 王天德 203x71cm 2018年 宣纸、墨、火焰、拓片
  • 《Oh due》 杨诘苍 230x550cm 2006年 纸本水墨
  • 《山水与橄榄枝》 杨千 200x150cm 2014年 霓虹灯、丙烯、喷绘及综合材料于帆布
  • 《虚空为四邻2018.01》 朱建忠 200x400cm 2018年 纸本
展览时间:
2019-04-20 - 2019-05-20
展览城市:
广东 - 深圳
展览机构:
深圳画院美术馆
展览地址:
深圳市罗湖区银湖路金湖一街36号
策 展 人:
尚辉 冀少峰 吴洪亮 杨晓洋
总策展人:董小明
主办单位:
深圳市人民政府
承办单位:
深圳画院 OCAT深圳馆 华·美术馆
展览备注:
展览场地:深圳画院美术馆 OCAT深圳馆 华·美术馆
统筹:徐章 栾倩 毕大松
执行统筹:杨晓洋 郭延容 冯峰 方立华
设计:杨阳 任四四
展览执行人:任四四 李荣蔚 谢安宇
策展助理:古秀玲 苗瀚文 谢涵之 尤艺

展览介绍

由深圳市人民政府主办、深圳画院联合OCAT深圳馆、华·美术馆共同承办的“第十届深圳国际水墨双年展”暨“第九届深圳水墨论坛”将于2019年4月20日至5月20日举办。

本届展览和论坛以“水墨现在”为总主题,由董小明担任总策展人,尚辉、冀少峰、吴洪亮、杨晓洋分别担任“笔墨至式”“水墨无疆”“揽古烁今”“四十不惑”四个主题展的策展人及水墨论坛中相应专题讨论的学术主持。活动将在深圳画院美术馆、OCAT深圳馆、华·美术馆同期举办。

第十届深圳国际水墨双年展:“水墨现在”总主题阐释

总策展人:董小明

“深圳国际水墨双年展”源起于1988年北京和1992年深圳的两届“国际水墨画展”,1998年确立为由国家文化部批准立项和深圳市政府主办的常设性、国际性展事,及至将于2019年举办的第十届双年展,已经伴随水墨艺术当代发展走过了30年的历程。

30年来,历届“深圳国际水墨双年展”持续选择紧贴当代水墨发展的课题进行研究,并以创作实践和作品提供实证,几十个国家和地区的一千余位艺术家的数千件水墨作品参加了展览。今天,这些作品已成为一份丰富而完整的水墨艺术的时代样本,为我们展开了水墨艺术当代发展的画卷。

“深圳水墨论坛”是与“深圳国际水墨双年展”互补的理论研讨活动,二者相辅相成,相得益彰。历届论坛有200多位中国和国际著名的艺术史家和艺术评论家参与,影响和推动了当代水墨创作,亦为水墨艺术研究留下了颇为丰厚的学术成果和珍贵的历史文献。

传统的中国绘画面对近代西方绘画进入中国而得名为“国画”,至新中国初期,由周恩来总理提议正式命名为“中国画”。水墨画本是中国画的一个分支,20世纪80年代以来,在传统中国画力求革新的潮流中,画坛呈现多元格局,“水墨画”这一概念以其广大的包容性涵盖了处于变革中的不同形态的中国画,而逐渐成为开放的中国画的代名词。

双年展以水墨为题,明确以推动传统水墨画“走进当代、走向世界”为宗旨,立足于审视当前水墨画呈现的不同表现形态,展示其最新成果;努力把握水墨画发展的脉搏,研究这一传统艺术在当代文化语境下的生存状态;力求赋予水墨艺术新的观念,丰富其精神内含和表现形式,拓展其发展的空间,推动其发展的当代进程,使其永保青春。

水墨这一具有悠久历史的传统艺术,在东方的哲理和美学观念滋养下,以独有的精神内涵和艺术魅力而自立于世界艺术之林。近现代以来,水墨画在继承中发展,延续和弘扬了中国古典艺术的价值,成为传统文化的一个重要载体。然而今天,如何表现当代生活、体现当代精神、实现当代人的审美价值,传统水墨画正面对拓展表现域、创新表现力等与时代同行的任务。因为这一画种在中国美术乃至整个文化生活中占有的独特地位,它对中国美术现代转型的影响至关重大。

今天,面对风云舛错、众说纷纭的水墨画坛,我们认为,重视理论研究,增强学术内涵,已成为继续打造深圳双年展这一水墨艺术的专业学术交流平台,发挥其推动当代中国美术发展和向世界弘扬中华民族优秀文化积极作用之当务之急。本届双年展定名“水墨现在”,将继续以历届展览开放的态度,关注水墨艺术在当代文化语境下的多样呈现。水墨论坛和双年展将同期举行,由研究者对现存不同观念和形态的水墨创作状况进行理论阐述,展示实践者的创作成果。以期通过对水墨艺术现在时的审视和研判,引发对其将来时的思考和前瞻。共同把握水墨艺术当下的脉搏,探求前行的路径和方向。

展览和论坛围绕总主题预设四个单元主题展,各主题展和研讨均为本届深圳水墨双年展和水墨论坛的组成部分。各主题的阐述充分尊重和发挥研究者的独立观点及参与者的不同见解。各主题在策展进程中可保持沟通和互动,相互关照,相得益彰,趣舍异同,以求当下水墨艺术发展的不同观念和多样形态得以在双年展的平台上共冶一炉。

第十届深圳国际水墨双年展:“揽古烁今”主题展阐释

策展人:吴洪亮

展览地点:华·美术馆

面对中国画概念生成的100年与水墨画概念确立的40年,其演进的主线就是被改造,而“被改造”的目标则是希望其不要成为遗产而被铭记,希望其鲜活地长在艺术的生态里。因此,我们看到的是无论中国画还是水墨画不断被优化与修正的过程。但同时问题也在出现,就是我们慢慢开始淡忘其精神的实质与技法的精髓,于是近年又启动了召回模式,重视那些曾经所谓过时的东西,那些本以“古”的名义穿越时间的东西。有趣的是今天我们重观那些理念与方式,竟然感觉是新鲜的,与当下不仅抹去了诸多违和感,反而还增添出不少时尚的逻辑。因此,“揽古烁今”这个版块就试图以多维的方式呈现那些不抛弃、不放弃传统的艺术家,在一个恰切的场域中进行颇有意味的当代表述。他们身在现代,心有传统,不是“古中新”而是“古而新”。“古”与“新”在此处是被并置甚至是融合的。此处所强调的“古”,如朱良志先生所说,强调的是那些更为“永恒”的东西,崇尚高古的态度,“高则俯视一切,古则抗怀千载”。这些艺术家的作品并非是僵化的,“古”之所以可以“抗怀千载”,因为其自身的开放性与包容的能力。此展就是借用当代的展览空间,将“古”中那些“活泼泼地”的因素激发出来,进行当代的彰显,紧扣“水墨现在”的主题。我们不仅要关注艺术作品的呈现方式,还要特别注重观者的欣赏情景的建构。尤其是具有中国特色的手卷与册页在展览中将零距离与观众相遇,打破作品与观众的诸多隔膜,将“古”在不知不觉中化为可亲近的东西,使艺术还原回真的“生活”之中。

总之,“揽古烁今”这一主题作为第十届“深圳国际水墨双年展”的有机组成部分,希望将传统揽于当下,进而点亮现在与未来。

第十届深圳国际水墨双年展:“笔墨至式”主题展阐释

策展人:尚辉

展览地点:华·美术馆

“水墨现在”考量的是新时期以来水墨画的当下发展状态。本单元研判的是那些从传统文人画转向现实、进入现代审美经验,并依然讲究笔意墨蕴的水墨画。从这个角度,这一区域的水墨画依然沿用了中国画的概念,并依然被分为人物、山水和花鸟三科。显然,用“水墨”的概念去衡量这些具有现代转型意味的中国画,是不准确的。因为“笔墨”仍然是这些画作透现中国文化的基本语言属性,但这些画作又不唯笔墨是瞻,被画家们注重或矻矻以求而探索的,更可能是造型、图式、色彩等原本不属于中国画本体语言的那些视觉元素。应当说,新时期以来中国画的变革主要体现在对于这些具有现代视感特征的艺术元素的汲取与融入上,并适度参照和借鉴了欧美的现当代艺术理念。也即,这个被称作中国画现代性转型的主体,依然秉持中国画的笔墨体系与本质,但这种笔墨的运用则被转换到造型、图式、色彩等具有现代视感经验的体式中,并因艺术主体的个性化创造而形成各自不同的笔墨风貌。如果说,此前的文人画笔墨着眼于笔墨个性的形成,那么,新时期以来中国画的现代性转型则试图运用已有的文人画笔墨来创造与造型、图式、色彩的个性化结合,是笔墨+造型、笔墨+图式、笔墨+色彩并相互交叉相互渗透的个性创造。本单元之所以强调“笔墨至式”,就在于这种“笔墨+”的中西融合、古今结合的艺术方法论,已成为中国画现代性转型的基本路径与范式,但只有那些有艺术高度、有学术品位和有深刻感悟力的艺术家,才能达到一种个性化的极致,才能具有艺术史的意义,才能真正实现自由的人性这个艺术现代性的人文理想。

第十届深圳国际水墨双年展:“水墨无疆”主题展阐释

策展人:冀少峰

展览地点:OCAT深圳馆

水墨是带有民族文化根性和文化符号礼仪内容的,面对水墨在当今社会的发展,其实透过水墨的发展变化亦映射着中国社会政治经济文化结构的转型,在沟通中国与世界,东方与西方,历史与现在,本土与全球方面,承载着重要的文化担当。水墨一方面要与当代社会相协调,另一方面亦要与当代文明相融合,进而实现水墨这个传统文化礼仪在当代社会的创新性发展和创造性转换。

因而第十届深圳国际水墨双年展,“水墨现在”之“水墨无疆”单元,亦在构筑一个水墨的精神文化场域,透过“水墨无疆”所营构的开放的墨场来彰显的实则是当代社会的一个知识场、文化场,更是一个在新时期,中国在迈向现代性过程中的真诚思考和激情表达,并透过墨质、墨境和墨像三个子单元,突显在“水墨无疆”所带来的关于水墨边界,水墨身份,水墨定义及墨场之中水墨现在的纷纭变化。同时围绕墨场展开“墨变与20世纪中国之变”的学术研讨,所选艺术家亦是置身于激变的20世纪中国社会发展潮流中,他们的视觉表达不约而同地以当代水墨元素来表达自我的文化立场和思考。但又迥异于传统的水墨媒材,有时虽然沿用传统的媒材,但表达的观念又和当代社会有着密切关联。由此,水墨多媒体、灯光装置、影像等使水墨从二维走向了三维,从静态走向了动态,从平面走向了立体,因而也使水墨走向了广阔的公共空间,从而使人们对水墨的惯常认知发生变化,带来一个异彩纷呈的水墨场。

第十届深圳国际水墨双年展:“四十不惑”主题展阐释

策展人:杨晓洋

展览地点:深圳画院美术馆

三十而立,四十而不惑。

上世纪80年代早期的深圳因毗邻港澳辐射内地、气候宜人,作为改革开放的窗口成为国内水墨画家作品进入国际市场的一个跳板及临时栖息地,本土从事专业水墨创作的画家寥寥无几,紧随着改革开放的步伐吸引汇聚了来自全国各地的艺术家,深圳水墨画创作从无到有,形成了一支逐渐成熟的、多元的美术创作队伍。

深圳画院审时度势,率先提出了当代中国画革新的课题和创作实践活动。开展了以“深圳画家画深圳”为题的主题创作活动,产生了一批记录时代风貌的作品。《人民日报》《美术》杂志发表了这批新作,得到社会广泛的关注和著名专家、学者们的肯定,为当时的中国水墨画坛带来了一股新鲜的气息。在此基础上提出了“城市山水画”这一中国画与时代同步、成为国内外画家们共同求索的课题;中国美协在深圳首次举办了“全国城市山水画展”,展示了近千位中国画创新的可喜成果;在“城市山水画”实践的基础上,又提出了“都市水墨”的概念,为水墨画发展开辟了全新的创作母题;“深圳国际水墨双年展”和“深圳水墨论坛”30年以来共12届展览和相应的学术活动,有近千位中国和世界几十个国家、地区的艺术家和批评家参与,已经成长为国内外最重要的水墨艺术展事和学术活动;“水墨双城——深港都市水墨交流展”把深港两地的水墨画家紧密的联系在一起,为“一国两制”的国家战略做出了特殊贡献;国家画院“都市水墨研究所”在深圳挂牌,则将“都市水墨”提升至国家美术发展战略所关注的研究课题;2017年深圳市委宣传部召开深圳美术创作座谈会,进一步明确了“都市水墨”已成为了深圳市委市政府着力打造“深圳学派”的一个品牌性活动。

改革开放40年以来的深圳美术承载着这座城市的历史使命,深圳水墨画家也用一件件作品在这里完善和成就了艺术人生,深圳坚持把当代水墨画创作和发展作为中国美术事业发展的组成部分和一块试验田,用深圳画家的画笔为更新更美的春天故事增添了浓墨异彩。

The 10th International Ink Art Biennale of Shenzhen and the 9th Shenzhen Forum for Ink Painting, sponsored by Shenzhen Municipal People's Government and co-organized by Shenzhen Fine Art Institute, OCT Contemporary Art Terminal Shenzhen and OCT Art & Design Gallery, will be held from April 20, 2019 to May 20, 2019.

Both the biennale and the forum take "Ink at Current" as theme. The biennale is composed of four feature exhibitions: "Supreme Paradigm" "Boundless Ink" "Referring to Old and Enlightening the Present" and "Mature Forty". Shang Hui, Ji Shaofeng, Wu Hongliang and Yang Xiaoyang are curators of each feature exhibition and academic hosts of ink forum respectively. The biennale will be held in Shenzhen Fine Art Institute, OCT Contemporary Art Terminal Shenzhen and OCT Art & Design Gallery simultaneously.

"Ink at Current" - Theme of the 10th International Ink Art Biennale of Shenzhen

Chief curator: Dong Xiaoming

"The International Ink Art Biennale of Shenzhen" rooted in "The 1st International Ink Wash Painting Invitation Exhibition 1988·Beijing" and "The 2nd International Ink Wash Painting Invitation Exhibition 1992·Shenzhen". In 1998, the biennale was approved and established as a long-standing international art event by the Ministry of Culture of the People's Republic of China and sponsored by Shenzhen Municipal People's Government. The coming 10th biennale will witness 30 years' development of ink art in the modern times.

Over the past three decades, each session of the biennale has been studying academic subjects that closely kept pace with the changes of contemporary ink art and accumulating art practice and works. Till today, the biennale has attracted up to more than 1,000 artists from dozens of countries and regions and displayed thousands of ink works, which have made up a rich and complete sample of ink art and show us a scroll of development of ink art in the contemporary era.

"Shenzhen Forum for Ink Painting" is a theoretic conference held as complement and augmenter of "The International Ink Art Biennale of Shenzhen". Over 200 Chinese and foreign art historians and critics have attended the forum. Their efforts influence and promote creation of contemporary ink art and leave fruitful academic achievements and precious historic documents for ink art research.

Traditional Chinese painting was called "Guo Hua (Chinese painting)" after Western painting entered China. In the early years after the founding of new China, Prime Minister Zhou Enlai suggested officially replacing "Guo Hua" with "Zhong Guo Hua (China's Painting)". Ink painting is a branch of traditional Chinese painting. The painting circle has shown a multiple pattern in the innovation-oriented trend of traditional Chinese painting since the 1980s. Ink painting gradually became a synonym of Chinese painting because its comprehensive character included well different forms of Chinese painting in the phase of transformation.

The biennale sets up ink as theme and clearly aims at promoting traditional ink painting "to the contemporary era, to the world". It examines the various expressive forms of ink art at current, displays the latest achievements, makes efforts to grasp the pulse of development of ink art and study its survival situation in the contemporary cultural context. The biennale also strives to develop new concepts of ink art, enrich its development space, propel its development progress to make it live.

As a traditional art with a long history, ink painting, nourished by oriental philosophy and aesthetics, stands proudly in world art for its unique spiritual dimension and artistic charm. In the modern times, ink painting developed while inherited from the tradition, carried forward values of China's classic arts and became an important vehicle of our traditional culture. However, traditional ink painting is confronting a task of how to keep pace with the times: how to express modern life and spirit of the times and realize the aesthetic values of modern people; how to expand expression realm and be more expressive. As ink painting enjoys a special status in Chinese fine art and even the whole cultural life in China, it plays a key role in transformation of Chinese fine art in the contemporary era.

Today, facing an ink painting circle with prominence of various forces and different opinions, we believe that, it has been an urgent priority for us to attach greater importance to theoretical research and strengthen academic connotation of the biennale to continuously build it into a professional academic exchange platform for ink art and play its full part in propelling development of Chinese fine art and promoting excellent culture of the Chinese nation to the world. The biennale is themed "Ink at Current" to focus on diversified presentation of ink art in the contemporary cultural context with a consistent opening attitude. Shenzhen Forum for Ink Painting will kick off at the same time with the biennale. Researchers will make theoretical presentations on different concepts and forms in ink art creation and show works of practitioners. Through examination and study of current situation of ink art, we are looking forward to seizing its pulse, exploring path and direction on the way ahead and triggering thinking and prospect of its future together.

The biennale and forum include four topics centering on the theme. Elaboration of each topic highly respects and gives full play to scholars' independent viewpoints and different understanding of participants. Topics of each exhibition and the forum communicate and interact with one another to bring out their best and achieve harmony despite arguments. We hope that the biennale would be a platform for gathering of diversified opinions and art forms of ink art.

Introduction of "Referring to the Old and Enlightening the Present" Feature Exhibition of the 10th International Ink Art Biennale of Shenzhen

Curator: Wu Hongliang

Venue: OCT Art & Design Gallery

The concepts of Chinese painting and ink painting came into being respectively 100 and 40 years ago with an evolution theme of being transformed. The purpose of transformation is for the concepts to be vigorously living in the ecology of art instead of being memorized as heritage. Hence, we see an ongoing process of optimization and improvement of both Chinese painting and ink painting. However, problems occur at the same time. We gradually forget the nature of their spirits and the essence of techniques. So in recent years, the art circle began to pay attention to the so-called outdated ideas and ways which took time travel in name of "old". It is rather interesting that when we review these ideas, we feel fresh - because they are no longer inharmonious with the modern society but look in fashion. Therefore, this exhibition is intended to present in multiple dimensions those artists who have never abandoned the tradition, and try to make contemporary expression in a proper context. Those artists live in the modern times, but they adhere to the tradition. So their art is not "new out of old", but "new as well as old". "New" and "old" are in equal position or even blended. In here, "old" stresses those permanent qualities and an attitude that cherishes the lofty and the old, just as Mr. Zhu Zhiliang said "being lofty to surpass and being old to go through time". Works of these artists are not rigid, because the "old" in the works can go through changes of time due to its openness and inclusiveness. This exhibition activates and shows the vigor inside the "old" to focus on the theme of "Ink at Current" in the modern exhibition space. We not only concern the way of presenting works, but attach special importance to building a space for audience. Especially when handscrolls and albums with Chinese characteristics meet audience face to face in the exhibition, the estrangement will be turned into amiableness unconsciously and art will return to real life.

In general, as an organic part of the biennale, we hope this exhibition would refer to tradition and further inspire ink art at present and in the future.

Introduction of "Supreme Paradigm" Feature Exhibition of the 10th International Ink Art Biennale of Shenzhen

Curator: Shang Hui

Venue: OCT Art & Design Gallery

"Ink at Current" aims at examining development of ink painting in the new era However, the purpose of "Supreme Paradigm" is to study ink paintings that have turned from traditional literati painting to reality. They follow the criteria of modern aesthetics, but still pay particular attention to interests of ink. From this angle, these paintings still follow the concept of Chinese painting and can be typically categorized as figure, landscape as well as flowers and birds, but it would be inaccurate to have them judged merely by concept of ink. Though ink and brush remain a basic language for the expression of Chinese culture, the creators behind these paintings pay more attention to visual elements falling outside of the ontological language of Chinese painting such as modeling, schema and color rather than principles of ink painting. It's arguably reasonable to say that transformation of Chinese painting in the new era are mainly reflected by absorbing and merging these modernistic visual art elements and to a moderate level, referring to Western contemporary art ideas. That said, ink and brush, regarded as the principal part in Chinese painting's modernistic transformation, upholds still the traditional ink system and intrinsic quality, but it is transferred to be used in forms dealing with modernistic visual experience such as modeling, schema and color, and coupled with individualized creation of art subjects, diversified ink styles and features are therefore formed. If literati painting used to focus on using ink to achieve individuality, then the modernistic transformation of Chinese painting in the new era attempts to make personalized combination between existing ink technique of literati painting and modeling, schema and color, that is, a personalized complex of ink+, like ink plus modeling, ink plus schema and ink plus color. In this complex, all art elements mutually intersect and infiltrate. This exhibition stresses "supreme paradigm" because this art methodology of "ink+" that connects eastern and western art as well as traditional and modern art, has become a common path and paradigm of contemporary transformation of Chinese painting. However, only artists who reach a certain altitude in art, academic appreciation and savviness could achieve a historically significant supremeness of individuality and realize free humanity - an ideal pursuing art modernity.

Introduction of "Boundless Ink" Feature Exhibition of the 10th International Ink Art Biennale of Shenzhen

Curator: Ji Shaofeng

Venue: OCAT Shenzhen

Ink art roots in national culture and is a cultural symbol of etiquette and ceremony. Development of ink art in the present society reflects the structural transformation of China in society, politics, economy and culture. Ink art plays an important cultural role in communicating China and the world, east and west, history and present, home and globe. On one hand, ink art should be in harmony with the modern society; on the other hand, as etiquette and ceremony of Chinese traditional culture, it should merge with contemporary civilization thus to facilitate its innovative development and creative transformation.

Therefore, this exhibition aims at building a spiritual and cultural field for ink art. "Boundless Ink" will present not only a field of knowledge and culture of the current society but China's serious thinking and passionate expression in process of modernization in the new era. The three units of the exhibition - Nature of Ink, Domain of Ink and Image of Ink - will spotlight issues concerning bound, identity, definition of ink, and changes as well as diversified opinions of ink art. An academic seminar focusing on "Change of Ink Art and China in the 20th Century" will be held. The selected artists are also agitated by the trend of development of the Chinese society in the 20th Century. As if by prior agreement, they choose contemporary ink which is completely different from traditional ink, to express their cultural stand and thinking. Though some of them use traditional ink media, their ideas are closely connected with the current society. Therefore, ink multimedia, light installation and videos have led ink from two dimensions to three dimensions and from stillness to dynamics, thus enabling ink to enter into wider public space where splendid ink art change people's stereotypical understanding about ink art.

Introduction of "Mature Forty" Feature Exhibition of the 10th International Ink Art Biennale of Shenzhen

Curator: Yang Xiaoyang

Venue: Shenzhen Fine Art Institute Gallery

At thirty, one should be independent and steadfast, while at forty, one should be able to develop a mature mind.

Thanks to its adjacency to Hong Kong and Macao as well as the pleasant climate, in the early 1980s, Shenzhen became a window of China's reform and opening up, which in turn served as a springboard and temporary habitat for domestic ink painters to enter international market. Though very few local artists were professionally engaged in the creation of ink painting, from all over the country, artists were attracted to Shenzhen to keep up with the pace of reform and opening up, laying talent foundation for the forming of Shenzhen ink painting circle and a full-fledged as well as diversified troop of art creators.

Assessing the situation and grasping the pulse of development of contemporary art in China, Shenzhen Fine Art Institute took the lead in Chinese painting in the contemporary age and participate in creative practice. "Shenzhen Artists Paint Shenzhen" program was launched, bringing forth a collection of works recording the contemporary spirit. Published by People's Daily and Art Magazine, the paintings gained extensive attention from the society and recognition from famous experts and scholars as well as the society, bringing fresh air into China's ink circle. "Metropolis Ink painting", a subject that kept pace with development of the times, grew out of the program and was studied and explored by artists at home and abroad. Chinese Artists Association held "National Metropolis Ink Painting Exhibition" in Shenzhen for the first time and displayed gratifying innovative works by near 1,000 artists. On basis of the practice of "National Metropolis Ink Painting", Shenzhen Fine Art Institute introduced "Metropolitan Ink Painting", a completely new creation motif for ink painting. Over a span of 28 years, "The International Ink Art Biennale of Shenzhen" and "Shenzhen Forum for Ink Painting" have been successfully held for 12 sessions, and with nearly 1,000 artists and critics from China and dozens of countries and regions all over the world attending, the events have gradually become one of the most important ink art exhibitions and academic activities at home and abroad. "Ink Painting · Two Cities - Shenzhen and Hong Kong Metropolis Ink Painting Invitation Exhibition" connected ink artists from the two cities closely and made special contribution to China's national strategy of "one country, two systems"; founded in Shenzhen, "Metropolis Ink Painting Research Institute" elevated metropolitan ink to a national research topic. Propaganda Department of the CPC Shenzhen Committee held Shenzhen Fine Art Creation Symposium in 2017 and further confirmed Metropolitan ink as a branded initiative of what Shenzhen government and the CPC Shenzhen Committee have endeavored to establish as the Shenzhen Art School.

For 40 years since China's reform and opening up, Shenzhen's fine art undertook the historical mission of the city and Shenzhen ink artists accomplished their art life with numerous works. Shenzhen has been consistent in carrying on contemporary ink as both a constituent part of and test field for the development of China's fine art, using Shenzhen painters' brushes to add even thicker ink to a newer and greater spring story.

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