The“Heaven”Prophecy for the Spiritually Banished Author:Huang Zongxian Date: 2013-09-04 Size:
Moving from his horse painting series to the current exhibition featuring “heaven”, Qiu Guangping has launched a visual art experiment, which can be compared to a spiritual journey exploring how to transform and transcend.

  If we conclude that by painting the metaphorical image of horses, Qiu has expressed in monologue his anxiety, doubts, indignance and resistance, this exhibition about heaven has constructed a public spiritual field. The artist has combined and coordinated paintings, installations, sculptures, video images and behaviors etc. as well as the space in the exhibition venue. By placing the dreams about “heaven” which people have long held along with the idea of “common justice” pursued by utopia in a space full of complexities and conflicts, he comes to raise doubts and questions, so that while being confronted with the visual images, audience would start to ponder on men,s spiritual end and the ultimate meaning of life. Qiu has not outlined a clear, definite, visualized and unified world about “heaven” or hell. Nor is his intention to seek “salvation” or “transgression”. Instead, he provides us with a spiritual space to have meditation and dialogues about the ultimate meaning of life. It is my belief that everyone can be inspired and aroused both emotionally and spiritually by this exhibition.

  To move from a focus on paintings, personal emotional expression and visual format based on technology to a comprehensive use of different art forms, the construction of a pubic spiritual field and a non-aesthetic and non-material approach, Qiu has demonstrated an evolution in not only his way to express, shift of creation space or change in rules of presentation, but an inevitable result of his spiritual exile, deepening thoughts and widening vision. What the exhibition presents is no common fashion, sentimental catharsis or shallow expression that appears to be profound, but the mind and spirits of a public artist and humanist. From this we can also come to understand that modern art, especially modern art in China can not and should not give up its value orientation or social responsibility.

  Huang Zongxian : Ph.D., well-known art critic, art historian, Dean of Art Institute of Sichuan University, professor, doctoral tutor, member of Theory Committee of China Artists Association, Vice President ofChina Artists Association

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[Editor] 常霞