Qiu Xiaofei, Venus at the Outlets Mall, Oil on canvas, light, wood, 480×470×358cm, 2013

Venus at the Outlets Mall was Qiu Xiaofei’s critical attempt to look at painting through the perspective of an object. The sculpture in his work is the one found in the outlets mall close to his studio, but the disproportional ratio in the night setting has made the sculptural replica into a referential point, what Qiu Xiaofei was more interested in commanding was the object in the painting, painting as the object, and the possible relationships between the object and the painting. In addition, he adjusted the sentimental qualities in these relationships on the pictorial, color and material levels. Eventually, the painting and the image, color and lighting, site and material became mutually interrupting yet congruent factors to the overall composition. This phase marked Qiu Xiaofei’s transition from “image” to “painting” when the physical quality of the painting is recognized and represented, could painting truly confronts today’s experience as a conventional vehicle, and Qiu Xiaofei’s recent works experiment on a different level as he preserves this medium. Qiu Xiaofei’s transition from being “academic” to “pictorial”, to “installation” and lastly returning to “painting”, seems to follow a logic against the artistic form, but one that embodies a true understanding of precedent and subsequent painting practices in contemporary Chinese art.

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Tong Wenmin, Hover, Video, Color, Sound, 6’00”, 2017

2017.03.09, Hongbai Town, Sichuan Province, China.
I picked up the remains of an old eagle under a water tower. It fell
from the sky, a long time ago. I extended the wings along my arms . I connect myself with the eagle and walk around and make impromptu movements in my daily living environment.

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