In No Hurry: Qi Lan Solo Exhibition
"In No Hurry - Qi Lan Solo Exhibition" is going to be held at Museum of Contemporary Art Chengdu (MOCA) at 3:00 pm on June 11th, 2016. This exhibition, which is organized by MOCA and curated by the critic Azure Wu, will exhibit Qi Lan's paintings in recent years. It will last until July 17th. During this period, the exhibition is free to the public.
Qi Lan has studied traditional Chinese painting since a very young age, and his extensive reading has brought him a good knowledge on arts and philosophy of both China and the West. Before he started painting with mixed media on canvas, he has already been a well-known art critic on contemporary art and Chinese and western ancient painting. He believes that the best way to engage in art is to do experimental painting, which shows his ingrained rebellion in breaking art stereotypes and making art adventures.
Qi Lan has gone through the identity changes from an artist to a journalist, to a critic, and then back to an artist again. Many of his works are related to his readings. Through reading extracts of selected works, he draws inspirations in communicating and even arguing with the classical painters and works in art history in order to construct his specific painting languages.
Qi Lan’s artistic creation is an action of painting under oppression, and a practice of both intricate thinking and visual experimentation. The traditions that he chooses to accept or reject, is the source and material of his creation. He dialogues with the classics in a way of making queries and innovations instead of following them faithfully. He pursues the integrated artistic expression of painting, which demands not only great patience，but also the subtle artistic intuition at his disposal. His painting process is like setting up dominoes and pushing it over again and again, producing countless variables and moving on with interrupts and meanders. Qi Lan is both an artist and a critic. He criticizes and challenges not only the outside world but also the numerous anchor points in his knowledge, experiences and thoughts. His art is exactly the externalized visual representation of those anchor points.
Colors and density are extremely significant in the change of Qi Lan’s new works. They reveal how an object, a figure and a space are multi-dimensionally constructed and how they are penetrated, extruded, dispelled and then finally complete the meeting and parting with other objects, figures and spaces. Many of these paintings，as they have been washed and soaked by plaster water, have mottled backgrounds. The whitish grey strokes splash and flow on paintings, and converge with the colorful acrylic, oil painting sticks and pastels，making waves of brilliant colors surging upward. The vanishing instants are given tangible forms as the expanding and overlaying brushworks try to transcend the exhaustion of time with short and strong rhythm. Qi Lan is obsessed with expressing the vast nihility beyond images. He seeks languages greater than image itself. The layers of space he pushes through is in effect an intricate and flowing spiritual world.
Qi Lan is deeply convinced that inner visual sense is an eternal variable, and he rejects any stylized and formalized painting languages. He keeps progressing on the route of the unfinished present, repudiating the past and seizing the present simultaneously. Vise versa，the past is reused to develop the ideas about the present. Every scene and instant under his brushes connects the past and the future closely.
Qi Lan was born in Anyue County, Sichuan Province in 1973. In 1996, he graduated with a Bachelor’s Degree in the major of Chinese Traditional Painting from the Academy of Fine Arts at Southwest Normal University. In 2001, he graduated from the Department of Chinese Traditional Painting at Nanjing University of Arts, with a Master’s degree in Fine Arts. In 2007, he began to study with Professor Wang Mengqi as a PhD candidate in Fine Arts. Currently he is living and working in Shanghai as an editor of Art China. His important exhibitions in recent years include: “He Gong and My Friends”, A Thousand Plateaus Art Space, Chengdu, China (2014) / “Bye, Mr. Dong Qichang - Qi Lan Solo Exhibition”, A Thousand Plateaus Art Space, Chengdu, China (2013) / “The 8th International Ink Art Biennale of Shenzhen”, Guan Shan Yue Art Museum, Shenzhen China (2013) / “2013 Autumn Art Works Exhibition”, A Thousand Plateaus Art Space, Chengdu, China (2013) / “Uninhibited Scenery”, A Thousand Plateaus Art Space, Chengdu, China (2011).
“且共从容 —— 漆澜个展”将于2016年6月11日下午3:00在成都当代美术馆开幕。本次展览由成都当代美术馆主办，批评家吴蔚担任策展人，将展出艺术家漆澜近年创作的绘画作品。展览将持续至7月17日，在此期间，观众可到美术馆免费参观。
漆澜自幼学习国画，博览群书，通晓中西方艺术与哲学。在进行综合媒介的绘画创作之前，他已经是知名的艺术批评家；涉及领域不仅限于当代，还包括中西方古代绘画。如今，他发现进行新绘画的试验性创作才是亲身介入艺术的最佳方式，也符合他深入骨髓的对艺术陈规的破坏与冒险精神。
漆澜经历了从画家到媒体人、批评家，再到画家的身份循环转变。他的很多作品都和阅读有关，通过片段式的、选择性的阅读，与那些经典的历史案例和作品进行交流甚至抗辩，以汲取灵感，从而构建自己独特的绘画修辞语言。
漆澜的艺术创作是具有压迫性的绘画行动，是复杂迂回的思维和视觉实践。那些他所选择性地认同或对抗的传统，是他创作的源泉和素材。他与经典对话，不是臣服和追随，而是质询和开创。他追求真正属于绘画的整合性的艺术表达，这不仅需要耐心，还需随时调动对绘画的微妙的预感。漆澜的绘画过程就像是一次次搭建多米诺骨牌，一次次推倒重来，产生无数变量，在中断、蜿蜒中前行。漆澜是画家也是批评家，他的挑剔和质疑不只针对外部世界，还有其知识、经验和思想中的无数个锚点，他的绘画正是这些锚点外化于视觉语言的冲动或验证。
色彩和密度，在漆澜新作的转变中至关重要。它们展现了一个物象、一个形体、一个空间如何被多维地构建，如何被穿透，被挤压，被消融，继而完成与其他物象、其他形体、其他空间的聚散。这些画许多曾被石膏水冲淋或浸泡，底稿斑驳，灰白的痕迹在画面上泼洒、流淌，与五彩的丙烯、油画棒、色粉汇合，明艳的颜色一层层向上涌动，恣肆汪洋。它们赋予消逝的瞬间以形式感，不断叠加、扩展的笔触试图以短促有力的节奏感超越时间的虚耗。漆澜的兴趣是去表现物象以外的巨大虚无，他要的语言是大于形象本身的东西。他层层推开的空间是一个复杂的、流动的精神世界。
漆澜一直深信不疑，内心的视觉永远是一个变量，因此他拒绝任何的风格化和程式化语言：他一直行走在未完成的当下，在否认过去的同时捕捉现在，相反地，再利用过去的每一方面发展有关现时的观念。他笔下所有的情景、所有的瞬间，将过去与未来紧紧相连。
漆澜，1973年生于四川安岳。1996年毕业于重庆西南师范大学美术学院中国画专业，获文学学士学位；2001年毕业于南京艺术学院美术学院中国画系，获文学硕士学位；2007年师从王孟奇教授攻读美术学博士学位。现生活、工作于上海。漆澜近年参加过的主要展览有： 何工和我的朋友们，千高原艺术中心，成都中国（2014）/再见！董其昌——漆澜个展，千高原艺术空间，成都中国（2013）/第八届深圳水墨双年展，深圳关山月美术馆，深圳中国（2013）/秋季陈列展，千高原艺术空间，成都中国（2013）/任性的风景，千高原艺术空间，成都中国（2011）。
