Destruction & Reconstruction: Abstract Sculpture in China
Curator: Sun Wei ,Fu Zhongwang
Academic Presider: Weng Jianqing
Duration: 2013-11-08 ~ 2013-12-08
Opening: 10:30am, 8 November 2013
Venue: Hubei Museum of Art
Host(s): Hubei Museum of Art, China National Arts and Crafts Society Sculpture Committee, Sculpture magazine

  Exhibition Committee: Sun Wei, Fan Weimin, Zhu Shangxi, Huo Boyang, Jiao Xingtao, Lin Guoyao, Liu Yijie, Yu Xiaoping, Song Weiguang, Fu Zhongwang, Ji Shaofeng, Billy Lee

Curators: Fan Weimin, Ji Shaofeng

Academic Moderators: Weng Jianqing

Planning Executives: Zhu Zhihong, Wang Mengjia

Graphic Designer:Wang Yun

Exhibits Display and Exhibition Affairs: Cai feng, Peng Xiangfeng

Public Education: Wang Xiaohong, Liu Haimeng

Art Media Promotion: Zhang Yuehong

Public Media Promotion: Fu Jian


As an essential path of cognition, the abstract is an intrinsic ability of human beings to think. The abstract art’s explosion and boom in a certain period of history and its acquisition of registration and acknowledgement in the Western art history, are the outcomes of society at a certain stage of development. Chinese abstract art is still in the stage of learning from the Western abstract art. In view of the holistic context of today’s China, the abstract art as a specific field deserves attention, exploration and practice. And in view of the historical course of the social development of China, the development of the realism art that criticizes of and interferes in society has already reached a considerable scale; the abstract art that enriches the cultural form, artistic language and humanistic value is therefore a demand for cultural development as well as the further promotion of modernness.

  The concept of abstract is corresponding reversely to the one of representation and pursuing the universality of the world. In terms of art, abstract seeks the purification of the language of form. The continuous transformation from representation to abstract is indeed a process of deconstructing the figurative form. A deconstruction, however, ends up by establishment of another new representational form which is but beyond our conventional visual experience. This is exactly how history proceeds; in other words, the history evolves through the ceaselessly dispelling the established center and demonstrates a spiral form that ascending by degrees. The “deconstruction and reconstruction” are the common characteristics seen in every developmental stage of history, they are of an intrinsic demand of every creation and of an evolution process which never comes to end. In this sense, abstract is not the aim. It is through “deconstruction and reconstruction” the abstract is achieved as well as subverted. This is how abstract art gains its strength and what motivates this exhibition.

  Collaboratively organized by the Hubei Museum of Art, the China Arts and Crafts Association Sculpture Committee and the “Sculpture” magazine, this exhibition features 70 abstract sculptures by 50 abstract sculpture artists, including those most active and those newly emerging. Their works demonstrate, at a large extent, the overall look and creative level of the abstract sculpture in today’s China. This exhibition aims to trace the state of the professional creation in the sculpture field, but also to offer the public a delicious aesthetic feast and an access to the brilliance of the abstract world.

  Wish the exhibition all the success!

  Hubei Museum of Art

  China Arts and Crafts Sculpture Committee

  Sculpture magazine

  November 2013


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[Editor] 常霞