If we regard "images" as "moving images", a way of recording and restoring images, then when technology freezes images as an eternal moment, it is a new visual effect in painting creation. Inspiration from images has become the artist's re-creation of creation. Imitation and citation of images, and how paintings and images are intertextualized, have been the main issues that artist Che Jianquan has been exploring for a long time. Recently, Che Jianquan's solo exhibition "One Moment" was exhibited at Guangdong Museum of Art, curated by Wang Shaoqiang, director of Guangdong Museum of Art. The exhibition revolves around the theme of "time", which involves the proposition of art and philosophy, and explores the energy of nature. And the influence of mystery on man-made landscapes is a documentary presentation of the artist's shift from the external world to the inner exploration. Che Jianquan's creations include painting, documentaries, writing, and multi-screen video installations, focusing on the relationship between man and nature, history and collective memory. In this exhibition, paintings and video works are juxtaposed, and more than 100 oil paintings, prints and installation works of the artist are displayed, most of which are displayed for the first time.

Che Jianquan was born in Tianjin in 1967. After studying for a master's degree in the Oil Painting Department of the Guangzhou Academy of Fine Arts, he has stayed at the school to teach until now. Che Jianquan once used painting as the main medium, but at the same time, he has been an out-and-out "movie enthusiast" for a long time - for more than 20 years, he has collected more than 100,000 copies strictly according to the context of film history. Movie discs, various genres and works representing filmmakers are involved. Due to his obsession with movies, he gradually tried to create oil paintings in the form of images, although he mentioned in the interview that more than 10 years ago, he found that the painting method he had been insisting on was unable to express his special experience, and he gave up for many years. After letting go of painting, he did film research while trying to shoot short films, but he discovered the new value of painting from new video creations. At this time, he regards "images" and "paintings" as texts. In this way, painting is not only derived from images, but also derived from new texts. The two media are interdependent, sourced from each other, and borrowed from each other. For example, the exhibited series of pavilions are a dynamic fragment of the easel painting interpretation. By gazing at the different seasons, climates and moments of the landscape, it traces the concept of contemplation in the oriental cultural tradition and creates a diffuse atmosphere. And the uncertain atmosphere, through blurring, opens up the boundary between painting and image, expresses the eternity in the moment, and reflects the thinking about what painting is in the age of image.

An important clue in this exhibition is that Che Jianquan took the 20 years of creation in Lushan as a clue, and integrated three groups of paintings, 6 images and a documentary, including an old map of Lushan and Wang Xu’s Replica of "Little Snow in the Fishing Village". "Little Snow in a Fishing Village" is an ancient work copied by the artist when he was a child, which contributed to the keynote of the Lushan series. For Che Jianquan, Mount Lu is a "healing place". In 2003, Che Jianquan went to Lushan to avoid SARS. There, he was able to shift his attention from the agitation to the ever-changing clouds and mists, forgetting himself in the changing clouds and mists, and the viewer and the viewing object are completely integrated. In this spiritual experience, Che Jianquan's creation returned to his own inner viewing. The film "The Watcher" records the artist's work in the mountains. The video "Zoo" was filmed in an abandoned zoo on Mount Lu. The park was abandoned due to economic and other reasons. With the withering of prisoners, the artificial park was eventually covered by nature. As far as the camera goes, there are waterfalls in the jungle, steps hidden in weeds and rusted iron cages. Correspondingly, there is another video "Parallel World". The film is based on the once glorious World Grand View Garden in Guangzhou, which is full of iconic buildings and sculptures copied from all over the world. This highly concentrated "world" reflects the earth-shattering transformation of human civilization in the natural world. However, in this condensed world, when the hustle and bustle recedes, the mighty power of nature is re-emphasized.

The direction and context of Che Jianquan's creation are not deliberately planned, but follow his inner inspiration. For example, one of the most important video works in this exhibition, "Meditation of Uncertainty", was during the epidemic in 2021. He wanted to see what the bustling city of Macau would look like without tourists, and he started shooting. This work aims the camera at the magnificent casino in Macau, and also chooses the contrast between the traditional Chinese folk way of life and modern ruins, and reflects the relationship between prosperity, void, human construction and uncertainty with a visual interpretation of impermanence. "Tong Chen" is a video work created by the artist in southern Taiwan Province, China. The film presents Che Jianquan's investigation of the cultural heritage and scenery of southern Taiwan from an anthropological perspective in the form of chapters. The artist mixes local cultural customs with visual fragments of market life, and uses the juxtaposition and overlapping of images to form a historical narrative with cultural fragments, exploring how to inherit and survive the ancient Chinese culture.

Among the paintings adapted from the film are Spring in a Small Town and Landscape in the Fog created by the artist in 2011. "Landscape in the Fog" has two sets of pictures, one is a pair of sister and brother walking from a distance in the rain and fog, and the younger brother is too tired to walk and bends down; distance. The artist carefully cuts the shots. The approaching or receding of human figures, the movement of fog, and the receding or clear process of trees have all become frame-by-frame pictures. In the frozen shots, we feel the difference between man and nature. Quiet dignity. This group of works comes from the film "Landscape in the Fog" by the famous director Theo Angelopoulos. In the film, the sister and brother are struggling to find their father in Germany. This background makes the fate of the sister and brother in the mist even more tragic. The artist's high-density interception makes the characters in the picture more sculptural. In the group paintings adapted from Fei Mu's film "Spring in a Small Town", the characters are drawn away, and the vacant shattered flower clusters and curtain tables are reminiscent of the long and conflicting narratives and scenes played in this time and space. mood. Alongside the two films, there are also documents such as "Five Lantern Festivals" and Gluck's poems. Through the combination of these parts, Che Jianquan creates a mixture of different time, culture, memory and history to explore the possibility of human crisis and recovery.

In Che Jianquan's works, "scape" is like a barrier, isolating the troubles of reality, while those real "images of history" remind people that they should wake up from vague dreams and return to reality. It was in such a contradiction that he repeatedly emphasized how his unease and anxiety were comforted in it, so he found a path to the soul in the eternity of time and the majestic epic. Here, time has acquired its own visual image, and the person watching, whether sad or peaceful, has also experienced a spiritual reconstruction.

Article Source:艺术与设计

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