An Overlapped and Rotative Identity

An O verlapped and R otative I dentity

 

Artists: Feng Lianghong, Li Xiangyang, Ma Kelu, Xu Hongming

Duration: April 16  June 11, 2017

The abstract artists present at this exhibition have overlapping artistic identities. They have thoroughly studied Western art in the United States, Europe, and they have grown more infatuated metabolically with the Chinese art and the philosophy of the country’s current art context.

 

In addition to the superposition, today’s decent abstract artists have to follow the constant rotation in the artistic procedure. A kind of rotation that maintains the role of the artist carrying his feelings and expressions from one side of the stage to another. He has not lost his enthusiasm in Baudelaire’s modernism, but it’s nowadays feelings and perceptions that greatly clasps the artist’s uncertainty.  In this process of ambiguity, something gets torn apart and creates one or several craters.

 

Benjamin solemnly quotes the passage of the French Montanian: “In the past, one’s image was left in the text, just as the object reflects to the image on the photoreceptor , And the professional tape cleaners can only be found in the future.” Today’s artists are those who were adept to discover the hidden light in Chinese tradition and in the western system structure. With dismay, fear and honesty,  they are to bring changes in reality through overlapping rotation.

 

Yes, artists generates references, references of references, but the strength of today’s context eliminates the essence of citation. It has not only meddled with the reference, but also overstepped the space, creating a space outside of the space. This is an empty space, an emptiness that the artist would go for yet break out from. An emptiness that he is no longer able to identify, an emptiness that countless artists would fill it with their existence of life.