“The influence of the Chinese art market depends on the national power of China. If China stays influential in the world, then the art market will of course keep on thriving.” — Wang Guangyi

“中国艺术市场的影响力取决于中国的国力。 如果中国在世界上有影响力,那艺术品市场当然会继续蓬勃发展。“ - 王广义

TCT today's art highlight: " Wang Guangyi"

《茶非茶》今日艺术聚焦:王广义

Wang Guangyi in his Beijing studio, 2011
Wang Guangyi is one of the most recognizable figures on today’s contemporary art stage, globally renowned for his combination of avant-garde art and impressive commercial success.
王广义是当代艺术舞台上最知名的人物之一,他以前卫艺术和令人印象深刻的商业,两者成功结合而闻名于世。
Wang Guangyi (b. 1957) is a Chinese Political Pop artist based in Beijing, China. He graduated from Zhejiang Academy of Fine Arts in 1984.
王广义(1957年出生)是中国北京的中国政治流行艺术家。 1984年毕业于浙江美术学院。
Wang Guangyi, "Great Criticism – Art and Power", 2005-2006, oil on canvas
Wang Guangyi, "Great Criticism - Wang Guangyi", 2009, Silkscreen Print
“Great Criticism” (1990-2007) is Wang Guangyi’s most famous series. Throughout his paintings, he combines propaganda images of the Cultural Revolution melded with logos like Coca-Cola and Chanel from Western-style advertisements to comment on the commercialization of contemporary Chinese culture.
“大批评”(1990-2007)是王广义最有名的系列。 在他的画作中,他结合了文革的宣传形象,与西方式广告,例如可口可乐、香奈儿的标志相结合,对当代中国文化的商业化进行了评论。
Propaganda images of the Cultural Revolution
Wang Guangyi, “Great Criticism - Coca Cola (green)”, 2006, Lithograph
Wang Guangyi, “Great Criticism - Chanel No. 19", 2002, Lithograph
Wang Guangyi, “Great Criticism - Pepsi”, 2007, Lithography
His “Great Criticism” Series include a mass of enthusiastic and dedicated Mao supporters dressed in the traditional wardrobe of the Communist party; the red background echoes with one of the most notable symbols of the Cultural Revolution – the Little Red Book.
他的“大批评”系列包括大批热心和奉献的毛派支持者,穿着传统的共产党着装; 红色背景是文革最显着的象征,与小红皮书相辉呼应。
Wang Guangyi, “Great Criticism - Marlboro”, 1992, oil on canvas

“I aim to express the ideological antagonism that exists between western culture and socialist ideology. The significance of this antagonism has more to do with issues in cultural studies than simply art in and of itself,” — Wang Guangyi

“我的目标是表达西方文化与社会主义意识形态存在的思想对立。 这种对抗的意义与文化研究中的问题更多相关,而不仅仅是艺术本身,“王广义
Wang Guangyi, "Great Criticism - Andy Warhol", 2002, Oil on canvas.
Wang Guangyi is greatly influenced by Andy Warhol, who was a leading figure in the Pop Art Movement. Warhol produced his Mao series in a fashion reminiscent of his portraits of American celebrities like Marilyn Monroe and Elvis Presley.
王广义受到波普艺术运动领先人物安迪·沃霍尔(Andy Warhol)的极大影响。 沃霍尔创作了他的毛泽东系列,让人联想到他的美女名人像玛丽莲·梦露,以及埃尔维斯·普雷斯利(Elvis Presley)的系列肖像创作。
Andy Warhol, "Mao series", 1972, Screenprint
While as Wang Guangyi’s “Mao Zedong AO”, he applied his rational grid onto a triple portrait of the Chairman, displaying an affinity with Pop appropriation and repetition. The grid is referring to a nine-square grid, commonly used as a guide to proportions when learning calligraphy, though many Western critics have interpreted the grid as a jail cell
像王广义的“毛泽东AO”一样,他将理性网格应用于主席的三重肖像,与流行音乐的重用和表现出亲和力。 网格是指一个九平方格的网格,通常用作学习书法比例的指南,尽管许多西方评论家将网格视为监狱牢房。
Wang Guangyi, "Mao Zedong - AO", 1988, oil on canvas
His massive Mao AO painting was sold for £2,036,000 ($4.1 million) at a Phillips de Pury & Company auction in London in December 2007.
2007年12月,在伦敦的菲利普斯·德·皮埃尔拍卖会上,王广义的"毛AO"绘画以2,036,000英镑(410万美元)的价格出售。
http://wangguangyi.artron.net/market
Other exhibition highlights are the Gurus (2011), a series of four phantom-like portraits of communist leaders Karl Marx, Friedrich Engels, Vladimir Lenin, and Joseph Stalin; and the Cold War Aesthetics series (2007 to 2008), a group of installations which shows people seeking shelter from air raids, largely based on Wang's experience living through the Cold War.
其他展览是在古鲁斯(2011),王广义的共产主义领导人卡尔·马克思、弗里德里希·恩格斯、弗拉基米尔列宁和约瑟夫·斯大林的四个幻影肖像系列,就是展览的亮点。 而他的行为艺术装置之冷战美学系列(2007至2008年),则展示了人们寻求躲避空袭的状态,这个艺术灵感主要是基于王广义对冷战的经验。
Wang Guangyi at MOCA "Image Correction" exhibition in Singapore
Wang is now using rich strokes that drip into abstract patterns reminiscent of traditional Chinese ink-and-wash landscapes, to create photographic negatives effects. His 16-meter-long The Last Supper (2012), a version of the Da Vinci masterpiece, contains such hidden vistas, in a new synthesis of Eastern and Western classical traditions.
王广义现在正在使用丰富的笔画,运用了中国传统水墨风景画的抽象图案,创造出摄影底片效果。 他的长达十六米长的“最后的晚餐”(2012)是达芬奇大作的另一个版本,包含了这样一个隐藏的视野,是一个新的东西方古典传统的综合体。
Wang Guangyi, “New Religion - The Last Supper”, oil on canvas
Wang Guangyi, "Cold War Aesthetics" includes an installation of some 50 life-size sculptures that depicts Cold War preparedness.

” I feel like all historical images contains an obscured reality. Through my works, or corrections I am trying to locate or return to that reality” – Wang Guangyi

“我觉得所有的历史图像都包含一个模糊的现实。 通过我的作品或者修正,我试图寻找或回到现实“ - 王广义
 
He has exhibited his paintings around the world, at the São Paolo Biennial in Brazil, the He Xiangning Art Museum, the Shanghai Art Museum, and Museum of Contemporary Arts in China, the Centre Pompidou in Paris, and at the Asia Society in New York.
他在世界各地做展览。比如巴西圣保罗的双年展、何祥宁美术馆、上海美术馆、中国当代艺术博物馆、巴黎蓬皮杜艺术中心,以及纽约亚洲协会等等,都展出了他的画作。

Author

Angela Bi is an international citizen who has lived both in Shanghai and Vancouver Canada. She’s worked in immigration for over a decade and has experienced first hand the joys of living overseas. Angela Bi 是生活在中国上海及加拿大温哥华两地的世界公民。她从事专业移民行业已有十余载,并掌握着旅居海外的一手乐活体验。

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