Yue Minjun: rational painter

Yue Minjun: rational painter "ten years confused"


2015-01-22 10:40:38 Source: 99 Art Network

 

January 17 afternoon, Yue Minjun solo exhibition "text garden" debut Shanghai Lin Bao Xuan. For the first time, the exhibition will showcase the artist's "maze" series, which will cover the "Flowers" (2009) at the beginning of the creation, and the "Chinese Contemporary Paintings" (2011).


Yue Minjun said he was painting a "no export maze", the way the maze of flowers and birds, wood and stone, figures are taken from his modern Chinese painting and calligraphy. From the "maze" can be seen, the "giggle" series of well-known artists, no longer to straightforward, exciting visual language touch the mood of the viewer, he began to ask the Chinese traditional culture of paradise of the pursuit of evasion, trying to deepen The outbreak of deep inside the perception.


The day of the interview, Yue Minjun first a cigarette. Visited Shanghai, he was able to get rid of "China". His voice is very slow, saying he was "very rational", whether it is exaggerated smile, or rolling tears, are rationally output and then slowly find the emotional energy. However, the rational painter also confessed to reporters that he was more confused than in the past. And, this confusion will last ten years, twenty years.


Is not this contradictory? His work seems to give the answer.


Compared to the "maze", "skin" and "overlap" two series of crazy a lot. The former is a completely fragmented tears of close-up, even if the work has been accused of "too straightforward, not subtle", he also said "do not mind"; the latter is the two paint has not yet dry works distorted and Rotation, if not the symbol of the smile, I am afraid it is difficult to guess the work from Yue Minjun hand.

 
"Artists do not have to be confined to a certain form of art, even if they are completely different, or contradictory, it makes sense." He is saying that he is talking about himself.


Reporter: Yue teacher Hello, this is your first time on display "maze" series, from 2009 to date, this "maze" direction of what changes?
 

Yue Minjun: Initially, the theme of this series is related to the prevailing global politics, for example, I painted "looking for art" and "terrorists". This way of thinking about social problems may be a continuation of the "scene" series, because when I was "scene" series, but also in the "giggle" social background is what. But when I think again, I found that the surface of the phenomenon is caused by their own culture, so I think the theme cut into the traditional culture itself, it may be easier to show some of the problems now. I think our thinking, or by some of the traditional content of the impact.


Reporter: It is said that the picture in the picture you are from the modern painting and calligraphy interception re-creation?


Yue Minjun: Yes, they are borrowed already exist, those traditional symbols, not my own creation. Because I do not want to use them to create a beautiful image, but to borrow these icons to tell and reflect.


Reporter: There are comments that your "maze" series is the way to convey the art of painting the mood, and even embodies a "writing", which seems to "giggle", "overlap", "skin" have Are you recognizing this evaluation? Do you intentionally adjust the direction?
 

Yue Minjun: may not be deliberately to change direction. Because a person in the life, the reality, the existence of the social environment, as well as the traditional knowledge of thinking, will find a lot of thinking dimension. Artists can show their thoughts and thoughts in different ways, not necessarily in a certain artistic form. Once the limitations of which there may be some linear changes, but may never see their most profound ideas; but through different angles, in the three-dimensional, intertwined state of thinking, you can more profound understanding of this society The So, I think even if the painting is completely different, or contradictory, it is meaningful.
 

Reporter: mention different aspects, talk about your "overlap" series, why create it?


Yue Minjun: This series of creative reasons is to discuss the nature of painting. In the process of creating a painting, the painting itself is passive, our aunt called it "force side", it is the result of a completely passive acceptance.
 

Reporter: is the painter to dominate it.
 

Yue Minjun: whether it is a painter, or ordinary people, anyone face painting, painting is passive. The initiative is man, or traces, or the wind, the fate of the painting is a passive recipient. So how can we make the passive recipients also become an active participant? So I think, is to use two paintings, and then draw each other.
 

Reporter: how specific operation?


Yue Minjun: that is painted in the two paintings, the paint is not dry, and then stacked together, stacked after the friction, look around, destroy it. When a painting takes this initiative on another painting, it is both a recipient and a perpetrator. I think in the essence of painting, this is an interesting exploration. For example, I painted a duck and a character, the two pieces of work overlap, when the friction, this initiative is not only on the destruction of another, but also on their own destruction.

 
Reporter: There are some "overlap" in the works there are smiling traces, which is to and before the "giggle" to do the context of the call on it?

Reporter: whether it is "maze", "overlap", "epidermis" are basically created after 2009, why at this stage will create a large number of new series?
 

Yue Minjun: there seems to be nothing special. For example, "maze", the beginning of the cause, when I was in the bookstore to see children's books have a lot of labyrinth icon, I was thinking, why the adults want to give children to create such a schema And the game, which is to want to control them, so that they are confused in the search, or simply a game, I do not know. It is like this society is controlled by some so-called smarter, more powerful people, and then when they create a variety of economic, political maze, we wear in the inside to wear. So I think there are some interesting things inside. Our society, our culture may be in such a situation.


Reporter: So the reflection of society and culture is also reflected in the "skin" series? I heard you first do this series, is holding an old photo repeatedly rubbing after opening, get inspiration?
 

Yue Minjun: is such a factor caused. At that time the studio in a mess, sometimes in the waste of things inside, may find some kind of inspiration. Those images you do not want, you may be thrown as garbage. But when you open, you find that these images have been destroyed by your actions, and then this "destruction" itself and the original things that have a distance. I think this distance may not have the attention of the artist, so it is used to create a new series. Finally, into the "epidermis" series, many people see, that this is your "giggle" crying directly expressed, too direct, not subtle.

Reporter: how do you look at this evaluation?


Yue Minjun: I did not care, how can I get on how to get.

 
Reporter: Some people commented that, regardless of the painting is laughing cry, you are to maintain a rational depiction, do you agree with this view?


Yue Minjun: I am from the rational thinking cut into, and then began to create. I am not from a perceptual point of view, and then to the creation, and then in the process of sensibility slowly comb their own rationality - I am not the kind; I am rational to enter, and then slowly looking for may be more abundant language, or Is something more interesting.


Reporter: For the above series, what are your new plans and breakthroughs?
 

Yue Minjun: There are many different. Such as "maze" series, I think gradually touched the traditional culture of the pursuit of spirituality that kind of things, the so-called escape from reality, looking for the kind of fairy bones of the realm. I think it will be more emphasis on this part, may be more interesting than it is now.


Reporter: This and you are more exciting before the visual aesthetic is also different, is more "close".


Yue Minjun: Yes. "Giggle" series more directly to show the political, realistic things. It gives an emotional touch, but did not drive the audience into their deeper state inside. So I think it is not from the cultural and other more in-depth perspective to dig people in the depths of the needs and resonance? This can lead to more in-depth thinking of the audience, I think this is a very important opportunity.


Reporter: "giggle" series of symbols is very popular, there is a very strong public recognition. And to achieve what you call "thought-provoking", so that more people understand your question of culture, it seems that a guide to the process? Do you think where the breakthrough point?
 

Yue Minjun: I think so, I think thoroughly, or a real breakthrough, not overnight. This is not to say that the problem is simply an artist. What I might have done is how to figure out what is more flat in the past and how to show it in three dimensions. When the so-called stereoscopic and intertwined appear, perhaps the understanding of art will go to another world.

 
Reporter: You mentioned three-dimensional show multi-faceted art, with the "giggle" series of success and the emergence of various types of evaluation, in a few years after several series of new series, you feel tired and stress time?


Yue Minjun: no pressure, as long as you know their own life, finally encountered such a can show their own time, it will not feel pressure, but is a happy state. How to say, do not use that traditional attitude to see the artist's pressure, we may be happy, because always keep thinking, and then have some wonderful feeling and creation.
 

Reporter: How did you evaluate your 2014?


Yue Minjun: I think I am more confused, there are creative reasons, there are social reasons. I think this confusion is the next decade and 20 years will continue to the state.
 

Reporter: So there is no want to find the export quickly freed, or enjoy it?
 

Yue Minjun: In fact, do not escape is a relief it After ten years, two decades of confused, in which to think can also find a way to fly.
 

Reporter: You talked to us today and so many series of creative minds, do you think artists should not explain their work to the viewer? Know that not all artists like self-expression.


Yue Minjun: In a sense, the artist explained his work, will give the audience a guide, but may also limit his thinking. I do not love it. It is interesting to have a foreign audience feedback. He looked at my "maze" and said that in the local, the labyrinth represents hope, because there is a maze must have exports. It makes me very surprised, because in my eyes, I painted a no maze of exports.


Reporter: is it interesting, that last can reveal this year's other exhibitions?


Yue Minjun: This year will be a museum in Denmark, a solo exhibition, there may be more than 40 pieces of work, will be different series of things are inside.

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