Self-Cultivation–Zhang Yu’s Fingerprints Works (1991-2011)

Self-Cultivation--Zhang Yu’s Fingerprints Works (1991-2011)

Venue:Building No.1 of Today Art Museum
D a t e:2011.02.20-02.28
Opening:2011.02.20 15:00
Forum:2011.02.21 14:00

Organized by Today Art Museum, Gao Minglu Contemporary Art Center and Taiwan Da Xiang Art Space, named Director of Today Art Museum Zhang Zi Kang and Art Director of Taiwan Da Xiang Art SpaceChung Ching Hsin as Exhibition Director, planned by Feng Boyi, Self-Cultivation–Zhang Yu’s Fingerprints Works (1991-2011) is being held the opening at 20th Feb. 2011 in Building No.1 of Beijing Today Art Museum, invited also international curator Achille Bonito Oliva writing an essay for Zhang Yu’s Fingerprints works.

From the beginning of the 1980s, concurrently with his creation of experimental ink painting, the artist Zhang Yu has been active in editing, publishing and in organizing research forums and other activities in the field of Chinese ink painting. Zhang is a practitioner and champion of Chinese experimental ink painting (shuimo) art. His creation and experiences are the witness to the clue of the development of Chinese contemporary experimental ink art after the revolution. Zhang became an individual visual sample of Chinese contemporary art.

This is Zhang Yu’s first solo exhibition in Beijing. The basic choice and the text of the exhibition is according to his Fingerprints series which was started in 1991, presenting two installation works, a video record, an image of his behavior and two art works. The simple design in the exhibition hall with the visual effect of the lights that constitutes Zhang Yu’s method through using “Fingerprint” to create experimentally while experiencing meditation is the extraordinary nature in his means of exhibition. This also shows his metamorphosis and condition in ceaselessly experimenting in the field of art. He on the one hand extends the traditional materials of ink painting to include silk, film, glass, spring water, finger-nail varnish and other media, thus constructing important factors in the text of the works. On the other hand, he links up with the traditional ritual of cultivation practice, that is, through a performance logic of real everyday life, he deconstructs the classical forms, language and formulas of traditional ink painting, and consequently allows the cultural value of experimental ink painting in the contemporary cultural context to achieve a kind of understanding and reconstruction. Thus the cultivation practice format of Zhang Yu’s fingerprint art is far from limited to the works themselves, but extends to the new possibility of ink painting seeking to construct a contemporary value in the context of contemporary culture, and to involve a series of questions about the modern paradigm shift in Chinese contemporary art, and even about its renewal and boundaries. In other words, through this exhibition he aims to emphasize the state of existence and the method of conduct of the entire individual who is an artist. This includes his self-criticism, introspection and transcendence of art while furthering a system to observe and study multiple factors in everyday life that lead to future standpoints and attitudes.

Zhang Yu Fingerprints Art Forum is also being arranged at 20th Feb. 2011 in the exhibition hall, invited a dozen of theorists and critics from mainland China, according to Zhang Yu’s art method as an individual case, to provide a general discussion of the problems and the future trend of Chinese contemporary art.

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