What is Chen's occupation?

Chen (1963-), female, born in Wenzhou, Zhejiang, is a famous oil painter in China. 1983 graduated from the middle school attached to the Central Academy of Fine Arts. 1987 graduated from the Central Academy of Fine Arts and was a lecturer at Beijing Arts and Crafts School. He is currently an associate professor in the Department of Fine Arts Education, School of Humanities, Central Academy of Fine Arts.

Chinese name: Chen.

Nationality: China.

Ethnic group: Han nationality

Place of birth: Wenzhou, Zhejiang

Date of birth: 1963

Occupation: painter

Graduate school: Central Academy of Fine Arts

Main achievements: Award for Excellence in the Collection of Literary Works in the 50th Anniversary of the Founding of the People's Republic of China.

1995 Bronze Award of China Oil Painting Annual Exhibition

Representative works: gray

Exhibition of works

1984 "Human Body" group painting participated in "Beijing Youth Art Exhibition" and was exhibited in China Art Museum.

1985 cabin participated in the exhibition of Central Academy of Fine Arts and won the prize.

1988 Screen prints such as "Self-portrait" and "Breakfast" participated in the "Four-person Joint Exhibition" and were exhibited in the Gallery of the Central Academy of Fine Arts.

1989 French arles International Art Festival

1990 10 Oil paintings Flowers by the Window, Flowers and Girls, Bath and Lunch participated in the exhibition "The World of Female Painters", which was exhibited in the exhibition hall of the Central Academy of Fine Arts.

199 1 Oil painting "Pink Flowers" and "Flowers and Girls" participated in the "New Generation Art Exhibition" and exhibited in the History Museum; The oil painting "Pink Flower" participated in the "9 1 China Oil Painting Annual Exhibition" and was exhibited in the China History Museum, winning the silver prize.

1992 Oil Painting Still Life participated in "92 China Oil Painting Exhibition" and was exhibited in Hongkong; The oil painting "Lunch" participated in the "China Oil Painting Exhibition" and was exhibited in Singapore.

1993 oil painting "cactus" participated in the second annual exhibition of China oil painting, which was exhibited in China Art Museum.

1994 oil painting "Pink Flower" participated in the contemporary China oil painting exhibition and was exhibited in HKU Museum; The oil paintings "Cold and Warm" and "Cactus" participated in the "Beijing Youth Oil Painting Invitational Exhibition" and were exhibited at the International Art Museum.

1995 "Personal Works Exhibition" was held in the Gallery of Central Academy of Fine Arts and Shenzhen Art Museum; The oil painting "Stay in the Sunshine" participated in the "Third China Oil Painting Annual Exhibition" and was exhibited in China Art Museum, winning the bronze prize. Oil paintings such as Shaoguang and Winner participated in the second "World Women Painters' Exhibition" and were exhibited at Beijing International Art Museum. The oil painting "Walking in Red" participated in the "China Female Painters' Works Exhibition" and was exhibited in China Art Museum.

1996 oil painting "white snuggling" participated in the "First China Oil Painting Society Exhibition" and was exhibited at China Art Museum; The oil painting "Bo Guang" participated in the '96 China Contemporary Art Exhibition and was exhibited at the Beijing International Art Museum.

1997 oil paintings "Shaoguang" and "Caring for the Back" participated in the Asian Art Exhibition and were exhibited in Bangladesh; The oil painting "Spring in a Cup" participated in the "China Art Exhibition-Contemporary Oil Painting Art Exhibition" and was exhibited in Shanghai.

1998 oil painting "Silver Dating" and "Red Space" participated in the "Century-Women" art exhibition, which was exhibited at China Art Museum; The oil paintings Face to Face, Looking in the Mirror, A confidante and White Snuggle were exhibited in the joint exhibition of contemporary China oil painters held by Liu Haisu Art Museum.

1999 Oil paintings such as Plain Color, confidante and Noon were exhibited in China Contemporary Oil Painting Exhibition. The oil painting The Man in Red was collected by China Art Museum. The oil painting "Pink Flowers" was collected by the Art Museum of Hong Kong University. The oil painting "Over the Hall" was collected by Shenzhen Art Museum.

China Contemporary Oil Painting Masters Hundred People Exhibition China Art Museum

The 9th National Art Exhibition Shanghai Beijing Award-winning Works Exhibition

2000 20th Century China Oil Painting Exhibition China Art Museum

The Third World Exhibition of Female Painters Beijing International Art Museum

200 1 New International Women's Art Exhibition China Art Museum

Art Age —— The First Art Exhibition in Shanghai

2002 Solo Exhibition Tsinghua Academy of Fine Arts Hong Kong Jifengxuan Gallery.

Major achievements

1985 Academy Exhibition Bronze Award Central Academy of Fine Arts

"Pink Flower" won the silver prize of 199 1 the first China Oil Painting Annual Exhibition.

The work "Gray" won the bronze prize in the 3rd China Oil Painting Annual Exhibition with 1995.

1999 bronze award of the 9th national art exhibition; Award for Excellence in the Collection of Literary Works for the 50th Anniversary of the Founding of the People's Republic of China.

Collection:

China Art Museum Hong Kong University Art Museum Shenzhen Art Museum Tianjin TEDA Art Museum International Art Museum

Publications:

This work was published in a big picture book.

1994 Contemporary China Oil Painting and Contemporary China Female Painters.

1995 picture book of contemporary artists in China, the trend of female painting in China at the turn of the century.

1997 Complete Works of Modern Art in China Century-Women

1999 "Still Life with Famous Paintings"

2000 China Contemporary Art 1979- 1999, 20th century China oil painting.

Artistic interpretation

To interpret Chen's oil painting art from the perspective of the development history of contemporary art in China, I think there are two exhibitions that have to be mentioned. One is the World Exhibition of Female Painters held by 19 1 in the Art Museum of the Central Academy of Fine Arts, and the other is the New Generation Art Exhibition held by 19 1 in the Museum of Chinese History. Chen not only participated in these two exhibitions, but also established her position in the history of China art development after 1990, and basically established her later artistic exploration direction. Yin Shuangxi, an art critic, believes that in artistic creation, Chen "intentionally or unintentionally missed the center and theme of people's concern" and emphasized Chen's independent exploration of art, but I want to say that Chen often enters the mainstream of the times intentionally or unintentionally, and her personal interest in art can often form a * * relationship with the exploration of other artists. Her works can also be regarded as a symbolic expression of this era. This is because the rise of women's art and the emergence of a new generation is one of the signs that contemporary art in China bid farewell to the 1980s and entered the 1990s in the course of the last century, that is, from an era of expressing passion and anxiety to an era of paying attention to daily life and expressing delicate and rich inner world. Here, I want to emphasize that as an artist, Chen is sensitive to the social and artistic world in which he lives. However, an interesting phenomenon is that the * * * relationship between Chen's art and the times is precisely obtained by avoiding the grand narrative of the times, ignoring the sudden change of politics, and refusing to portray China's ideological image (which is probably the center and theme that Yin Shuangxi said that Chen has been missing since the 1990s).

Because Chen pays attention to ordinary people and things in daily life, compared with those who depict subjects with great social significance, she can't get attention and success only by the value of the objects expressed in her works, which is quite similar to the situation after the western art changed from classical art, which attaches importance to the social value of subjects, to impressionism, which expresses people and things in daily life. However, impressionist and post-impressionist painters changed the development direction of western art with their new feelings about art. Chen's artistic works have gained an independent position in China's art history since 1990s with their extraordinary artistic creativity.

In Chen's works, painting language is first of all a means to reveal the secrets of the object, and a way to make both the object and the subject independent and free. It can be said that Chen's artistic purpose is not to reproduce the flowers, apples, watermelons and other things on the table in oil painting language, but to liberate them from people's desires in a unique and unfamiliar artistic form. I think this relief is twofold and mutually causal. This means that on the one hand, when Chen created edible, usable and desirable objects as artistic images, they no longer had anything to do with people's desires, but opened their own existence and gained independence and freedom. In Chen's own words, existence is the reason, and no one can do anything about it. Even if it is a grass and a tree, a piece of dust "; On the other hand, when the object is liberated and free, it is also liberated and free for artists and audiences. After careful study, this kind of liberation and freedom also has two meanings: when the object in daily life has gained an independent status because of Chen's artistic creation, we are liberated from the subject of desire in daily life and become a selfless and free aesthetic subject. For Chen Lai, this kind of independence and freedom has further significance, which is manifested in the following situations: Chen, as an artist, is moved or entangled by a certain feeling without understanding the essence of this feeling, and his repressed emotions are difficult to express in words (this * * * phenomenon of artistic form and emotion in artistic creation is the difficulty of artistic creation), so it is in this sense that when those lingering feelings get accurate artistic form, the aesthetician Collingwood believes that the art of emotion. In this respect, Chen is undoubtedly one of the best contemporary artists.

Fundamentally speaking, Chen's uniqueness among the new generation of artists is not to show people and things around him at close range, but to pay attention to his inner life experience without distance and zero distance. 199 1 Chen's earliest masterpiece "Pink Flower" won the silver prize of "the first annual oil painting exhibition in China", which embodies the artistic characteristics of the artist's early still life painting: expressing the life meaning contained in flowers in a claustrophobic space. After entering the 2 1 century, the flowers that once played a leading role in Chen's still life paintings were replaced by fruits. I don't know if Chen has considered the following question in this change: in our daily life, the status of ornamental flowers is far higher than that of edible fruits. In this regard, I think there are two aspects worthy of attention:

First of all, replacing flowers with fruits in his works may be related to Chen's intention to downplay the gender identity of female artists. As we all know, since the rise of women's art in the 1990s, flowers have been used as metaphors of women's bodies (which is the main feature different from traditional art methods) to express and talk about women's physical and psychological experiences in many works called women artists. Or accuse the patriarchal society of oppressing women, which means that although the flowers in Chen's works mainly express her life experience, they no longer become the protagonists in her works (she occasionally paints flowers), which is related to Chen's emphasis on the transcendence of artistic ontology over gender identity, and to her hope that the audience will only watch her works from the standpoint of art without adding any imagination of gender identity. If my interpretation is reasonable, then Chen's attitude is undoubtedly a break of the gender identity established after 1990 participated in "The World of Female Painters".

Secondly, Chen avoids noble flowers and chooses ordinary fruits in her artistic creation, which is related to her intention to express her new feelings about life. In this respect, it is a deepening on the basis of her past artistic exploration. Among her works since the 1990s, such as Flowers by the Window (this work was written in 1989, and the pink flowers were earlier than 199 1), Purple, Red and Grey, Lost Memory, Retaining the Sunshine, confidante, I remember Freud said that flowers are more beautiful because they bloom for a short time. In fact, the finiteness of life in time and the passage of day and night are the source of the meaning of life. This is the significance of the temporality and historicity of existentialism to life. I think Chen from flowers to fruits, in addition to eliminating the hierarchical differences of objects, it is more important to highlight this point, that is, the profound significance of life represented by fruits in the passage of time. If Chen focuses on the meaning of life in the cold and claustrophobic indoor space formed by geometry in his works depicting flowers, then in his works depicting fruits, Chen mainly shows the unique feeling of life passing through time, that is, from perfection to incompleteness, from freshness to decay, from existence to disappearance. There is no denying that the relaxed and free style, ethereal layout, minimalist pictures and pure oil painting language in these works reflect Chen's love for elegance and neutral beauty in artistic taste and her extraordinary artistic sensibility, but what I value more is her profound expression of the heaviness of life.

Since 2002, Chen has created a number of works combining landscapes and figures, which shows that Chen's art has experienced another major turning point: from the infinite inner world to the vast natural space, from expressing the heaviness of life to expressing a happy life and surpassing the tranquility and beauty of this life. I don't know whether Chen has consciously accepted the landscape art of China literati in this batch of landscape paintings, especially the influence of the naive landscape paintings of the South School (such as Composition on the Two Sides of a River), but one thing is certain, that is, in Reflecting the Sun, My Wife, Fengfeng, Shiyu, Tianyu, Hu Ming and Boating and Tianshui. In this realm and space, life has gone beyond the limitations of existence and integrated with nature, and exists with heaven and earth. This means that from the logic of artistic development, these landscapes seem to be a symbol of Chen's liberation from the heavy life experience in his early years. In other words, as a modern urbanite's unique perception of the finiteness of life, Chen changed a way of respecting life: from caring to giving up, from persistence to transcendence. Perhaps the happy men and women sitting on boats and playing among mountains and rivers in Chen's landscape paintings are the ones who really know the meaning of returning to nature.

If my interpretation of Chen's recent works is reasonable, I would like to further point out that Chen is in a double sense-life and art are both returning to China tradition, which is embodied in Chen's recent works, rethinking and artistic expression of man's position in the nature of heaven and earth with a natural ontology position advocated by China traditional culture. In fact, whether we like it or not, our realistic lifestyle has been basically regulated and dominated by western science and technology and material culture. However, the problem arises from this, that is, while fully enjoying the convenient, comfortable and fast life brought by modern civilization, we are also accelerating the consumption of resources on which future generations depend. It is in this sense that Chen's recent works return to nature, which is actually advocating the nature-based nature that has long existed in China's traditional culture. From the perspective of visual culture, I think Chen Yiding, who has been engaged in oil painting art creation, knows the fact that western realistic oil painting art, together with movies and photography, has become the dominant way for China people to watch the world. For decades, the slogan of nationalization of our oil painting is to inject China culture into this westernized way of watching. In this respect, I think Chen's recent works are extremely successful, because in these works, Chen Qiang harmonizes and highlights the attitude and position towards nature in China's traditional culture. Under the guidance of this spirit, Chen naturally turned landscapes into landscapes, and oil painting materials into Chinese visual language, making the perspective space in the West become a spacious and far-reaching space similar to the traditional landscapes in China. It is in this sense that I firmly believe that Chen's recent works will play an increasingly important role in the field of China oil painting art in the 2 1 century.

works appreciation