"Absolute Truth"Oil Painting Exhibition of Wang Wulong
City: Beijing
Curator: Wu Hong
Duration: 2017-06-23 ~ 2017-07-23
Opening: 2017.6.23(Fri),15:30
Venue: Artintern Art Museum
Address: No.205,Xiaopu North Road, Songzhuang,Tongzhou District, Beijing

Artist:Wang Wulong

Striving for a Serious, Earnest Absurdity


Under family’s influence, Wang Wulong began to learn painting at a young age. In more than ten years that followed, he devoted himself to the production of photography. During recent years, Wulong has been playing a very active part in the field of modern art. As a result, his paintings are mostly created with the three above-mentioned aspects of background as the inspirational sources.

Wulong’s paintings, at one glimpse, seem to possess an effect of minimalism and hard-edgedness. As a matter of fact, however, the theories of his works result from, or stand quite close to his decades practical experience in photography, as well as his apprehension towards the social characteristics of image cultures with photography experience as the base. Just as I mentioned in several articles earlier, the paintings of “concretization” and “authenticity”, towards which we have mutual understanding nowadays, express to the world in the so-called authentic way, and that does fall in line with the tradition of photographic visual cultures where focus perspective is taken as the theoretical frame, whilst the origin of such photographic visual culture appeared even earlier than the narrow-sensed invention of photography. As a broad-sensed visual experience, it generates from the pin-hole image principle discovered in the late Middle Age of Europe, together with the development of lenticular technology and craft-work. If the final images fastened by painting material, together with the images reflected through photo-sensative material, can be, visually speaking, completed in the same way as photographs are done in the final stage, then, the process where paintings are done through observation of images reflected upon frosted glass can truly be considered as the production of visual culture of photography in a broad sense. In the Renaissance time that came afterwards, people achieved the goal of agreeing human being as the main-body through understanding and expression towards the truth of the world. Some while later, a stable and clear, logical frame of theoretical expression towards the order of the world came to a further completion through classical philosophy. Therefore, when narrow-sensed photography appeared, it got crowned by the broad-sensed visual culture of photography that appeared centuries earlier, so that photography gets to be considered as a way of expression that stands most close to the authenticity of the world. Yet an enormous fallacy is hidden behind such understanding. What is more, when visual culture experiences the morphologization of awareness, it has already absorbed countless original sins that can hardly be wiped away.

As we are conducting researches upon the period of dictatorial system that once appeared in human history, we can easily notice that the visual style of authenticity was always preferred. On one side, the clear and logical external characteristics displayed through the so-called “authentic visual expression”, tend to stand in line with the requirement of righteous ethical aesthetics advocated by despotic regime, whilst on the other side, approved by the stable and logical frame of world’s regulation, it also fits the appeal of legal theory of historical regulation, with its own rational, logical development in human history (which partially belongs to the regulation of the world) as the prerequisite.

And thanks to the decades of experience in photographic production, Wang Wulong possesses a deeper apprehension towards the subjectivity and the falsity of photography shaded by the “authenticity”. By changing the medium, Wang Wulong aims at peeling off the aesthetic, symbolic, subjective, temperament, or even the ideological “matters of impurity”, so as to restore a pure and absolute “truth”.

His images also come from another clue. That’s to say, even though those aesthetic, symbolic, subjective, temperament, or even the ideological matters of impurity “matters of impurity” do exist in the design of book covers, Wang Wulong still are making attempts to restore a pure and formalized truth

And this devotion itself is also absurd. What Wang Wulong plans, is to manifest and deconstruct the first kind of absurdity that has permeated into our social cultures and that has been deeper hidden, through the second kind of absurdity which is more absolute and apparent. That’s what the perspectives of those paintings by Wang Wulong truly are.

——Wu Hong

June 11th, 2017, Tongzhou Beijing.


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[Editor] 张艳

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