Dreamland Art Center, Four Seasons Hotel Beijing, Second Floor, Liang Ma Qiao 48, Chaoyang District, Beijing, China
West Breeze, East water
"People gradually developed the belief that the true and important function of avant-garde art was not to 'experiment' but to discover a way for culture to move forward in the midst of ideological chaos and violence."1
Noah's Ark Series 2012
400 cm × 1160 cm
Linen, Grease Paint Quadruple Paint
Desire Scenery 2016
476 cm × 135 cm Linen Paper, Propylene
Qin Feng's works demonstrate extraordinary wisdom with emphasis on people's inner feelings. In the process of "entropy increase" of human civilization or ideology, pluralism is reconstructing our world outlook and disintegrating the precious artistic spirit. The reconstruction of people's ideas brought by post-naturalism seems to require us to re-examine the "landscape" under Qin’s masterpiece.
Falling Angel Series 2012
Diameter 300 cm Linen Cloth, Propylene
The writing of painting two 2016
96 cm × 180 cm Linen Paper, Propylene
There is a reason to believe that Qin Feng's paintings are principally musically-inspired. His works are infinitely inclined to music, the ideal category of art that Walter Pater has always higly regarded. He claimed that "music is the kind of art that maximizes the realization of the artistic ideal and the perfect unity of content and form" 2.The form that Qin Feng shows in his works are organic parts of each other in terms of purpose and means, content and form, theme and expression.Secondly, it has a kind of "imaginative rationality" while balancing rhythmic vitality and spiritual tension. Moreover, by indulging in the display of Qin’s works in the ambience, we can feel that every idea and feeling is twinned with its palpable analogue or symbol, in which this idea is not only embodied in western aesthetics alone. As early as in The Book of Rites, our ancestors propose that "music is the harmony of heaven and earth, and manner is the order of heaven and earth.Hence,"manner" and "music” are inseparable and together create the order of heaven and earth, as well as Qin Feng's "Yin and Yang".In the artist's series of Chinese characters writing, we can feel the intertextuality of music and poetry, which is just like the musical realm expressed in Chinese landscape poetry: "While looking thoughtfully after the swan goose returning south, he stroked the banjo. His mind wandered in the world of nature, and he comprehended the way of nature at all times and places."3. Qin Feng partially deviate himself from his original boundaries. The two types of arts do not replace each other, but mutually revitalize with new energy.
The writing of painting/Up and Down 2016
117 cm × 236 cm Linen Paper, Propylene
Celestial Serles Series 2020
60 × 130 cm（ Single piece）
Linen Paper, Propylene
The writing of painting/Thought 2019
146 cm × 330 cm Linen Paper, Propylene
The fact that traditional Chinese ink painting is stepping towards modernity is well proved and demonstrated in Qin Feng’s works. Western modernism is the evolution that painting gradually moves towards flatness. The manifestation of traditional Chinese painting resides in the state of Qin Feng's works – Eastern Zen philosophy fused with the form that is absorbed from western modernism. Qin Feng's works are the bearer of the integration of the two, just like a pair of spiral molecular structures, which constitute the DNA sequence of his works. They eliminate our doubts on the ideology of Western modernism and reconfigure the stereotype impression of Zen Buddhism, thus prompting us to start contemplating on the relationship between Zen and contemporary art in this new context.The exhibition "west breeze east water" acquires its name from the artist's masterpiece bearing the same name created in 2012. The title of this masterpiece forms a relationship of coincidence and antithesis with this exhibition. In addition, the title is the punchline of this relationship, full of mysticism, and puns at various levels in philosophy, feng shui, religion and artistic creation.
The writing of painting three 2020
97 cm × 180 cm（ Single piece）
Linen Paper, Propylene
The writing of painting/Nothing 2019
146 cm × 162 cm Linen Paper, Propylene
2019 The writing of painting/Middle
146 cm × 214 cm Linen Paper, Propylene
As an artist and scholar, Qin Feng had made outstanding contributions to international exchange of art knowledege. Qin Feng has not only propogated the traditional spirit, but also possesses a unique understanding of western painting. Subsequent to Cezanne era, artists began to emphasize the brushwork and its ideology of painting, minimizing the narrative quality of painting in order to enhance its painterliness, that is, what we call Brush & Ink Just as The Eight Mountain Dwellers once said, "There is not much ink dots but much tears instead, while the mountains and rivers are still the mountains and rivers", the core of the minimalist picture is to be highly spiritual, condensed, and full of emotion. Qin Feng's travels around the world, from Xinjiang to Berlin and to New York, has made the geopolitics of his work seem to be both individualistic yet universally significant. Since Qin Feng is an artist who grew up in Xinjiang, the power of multicultural and ethnic integration, as well as the deafening sound of the era could be experiencced in his works. Every stroke of painting gives emphasis to the restraint of romance and the freedom of expression. We are even unable to define it arbitrarily, so as to correct the discourse of the "other" in the post-colonial context of the Eastern world. This is the resonance of civilization that transcends the race, ethnicity and nationality. From the ultimatum realm of art, Chinese and Western art will reach the realm of integration.
The writing of painting/Life of tao 2017
140 cm × 500 cm Linen Paper, Propylene
Desire Scenery Seven 2022
80 cm × 230 cm Linen Paper, Propylene
The writing of painting 2018
117 × 236 cm Linen Paper, Propylene
Back in the 1940s in the United States, the era of Abstract expressionism was readdressing the relationship between painting and the world in the aftermath of the Second World War and the Cold War. As Barnett Newman addressed his reckoning in the manifesto: "The moral crisis at the ruins of the world no longer makes it possible to still paint the old things." As De Kooning said, "What is to be painted on the canvas is not an image, but an activity". Artists in the midst of a century of change attempting to reconnect human beings with the real nature and human truth.They no longer emphasize the narrative in the paintings with specific themes such as stories and religions, but emphasize the "pure abstract" nature of form, color, line and surface, requiring "arbitrary and full expression of self". Artists trying their best via various techniques and tools, to optimize the utilization of brush and ink.This kind of form well corresponds to the splash-ink technique of traditional Chinese painting in the sense of time and space. We are often impressed by Qin Feng's amazing perseverance in his oversized works. The explosive power of the body is actually created by all the condensed “Qi” in every brushstroke. Although the force of the body can be seen on the surface, its "Qi" often flows through the inner parts of the body, forming a primordial force. However, what is finally presented is the extreme calmness and hasteless, the visual experience beyond all controllable technicalities. This aura shares similarity with the utmost abstract and advanced divinity pursued the by Western art, but with completely different fundamental elements.
Leap Month 2021
140 cm × 140 cm （ Single piece）
Linen Paper, Propylene
Civilised landscape 1996
140 cm × 200 cm（ Single piece）
Canvas painting
Desire Scenery Series 2015-2017
160 cm × 75 cm（ Single piece）
Linen Paper, Propylene
After all, art still reverts to the fundamental faith and heart. Qin Feng's path of "postmodern ink painting" is diverse and complex, but it is also highly expressive. His "activities" on the canvas enable us to see the traces of an artist's search for truth, which is not a simple dualistic interaction between painterly and conceptual elements. Qin Feng's works are carved naturally and transcend the times, reminiscing the origins in history, by erecting the poetic and solidified structure which flourish in the spirit and world of art. “Where the heart is, walk the past”. Painting is an action and it is not a language. Artists are in the midst of rebuilding the most precious spiritual realm deep in their inner hearts.
Written by : Zhu Tong
Annotation:
1. Clement Greenberg (US), Art and Culture, Guangxi Normal University Press
2. Walter Pater (UK), Renaissance, ‘The Law of Music’, Foreign Language Teaching and Research Press
3. Ji Kang (Three Kingdoms period) "To Send A Scholar to Join the Army: the Fourteenth"
Exhibition Review
Exhibition Review
Interview of Artist Qin Feng
Interview of Curator Zhu Tong
Interview of Yongle Culture Representative Zhao Xu
Exhibition Review
About the Artist
Qin Feng taught as a guest at the Berlin University of the Arts and the Central Academy of Fine Arts. He founded the Beijing Museum of Contemporary Art in 1993. He is currently the dean of the Central Academy of Arts and Crafts and a contemporary art researcher at Harvard University. Qin Feng has won many art awards and the National Art Contribution Award in Berlin, Europe and the United States. Known as "post-modern ink and wash", his works are one of the contemporary artists with the largest collection of works in museums and art institutions around the world. Works have been selected by the British Museum, the Metropolitan Museum of New York, the Boston Museum of Fine Arts, the California Asia Pacific Museum, the Venetian Sini Foundation, the Ford Foundation, the Rockefeller Foundation, the National Museum of China, the Fogg Art Museum at Harvard University, the Yale University Art Museum, and the Smith Institute of Fine Arts There are dozens of museums, art institutions and nearly a hundred individual collections such as the United States Ministry of Foreign Affairs, the British Ministry of Foreign Affairs, the Italian Ministry of Foreign Affairs, and the Himalayan Art Museum.
As an artist and scholar spanning Eastern and Western cultures, Qin Feng’s works are poetically compatible with the romance of Western expressionist philosophy and the spirit of Chinese ink painting. Through multi-media research and creation, the development and application of traditional and modern materials, Formal language and expressive language are more compatible with the spiritual character of Eastern and Western cultures. Build and form a personal unique language and style.
Awards
National Art Exhibition Creation Award, the Berlin City Government Award, the Boston International Art Prize, the Douglas Foundation New Century Award & National Contribution Awards and several other.
Selected Institutional Collections
The British Museum, Metropolitan Museum of Art, Boston Museum of Art, California Asia Pacific
Museum, Ford Foundation, Mike Dallas Foundation, Rockefeller Foundation, National Museum of
China, Harvard University Fogg Art Museum, Yale University Art Museum, the Smith College Art
Gallery, the French National Foundation, Himalayan Art Museum, countlessm.
Selected Solo Exhibitions
2020
'Out of Blue' Palazzo Reale (Milan)
Qin Feng's Solo Exhibition Volta (New York)
2019
Encountering Rhythm of Tme Crossing Art (New York)
2018
Stanford University Art Center “Zero World” Exhibition NordArt (German Northern Art Center)
2017
“Meeting Angels” St. Catherine’s Cathedral Solo Exhibition (Hamburg)
“LONGING” G7Invitational Exhibition (Bologna Museum)Pace Gallery (New York)
2016
Venice Architecture Biennale “Qin Feng Special Exhibition” (St. George’s Church)
Ben Brown Fine Arts (Hong Kong)
Taipei Asian Art Center (Taipei)
Masterpiece Expo (London)
Milton Gallery (London)
2015
“Qin Mo Fashion” Shanghai New York University Art Museum Opening Exhibition (Shanghai)
Basel Art Center, Switzerland (Basel)
Swiss St. Urbanan Museum of Contemporary Art (Lucerne)
2014
Beacon Center for the Arts (New York)
Ode to Art （ Singapore）
Cohen Art Center, New York (New York)
Hong Kong World Gallery (Hong Kong)
Shanghai International Contemporary Art Fair “Qin Feng Special Exhibition” (Shanghai)
2013
Goedhuis Modern Art Gallery (London)
Ethan Cohen Gallery (New York)
2012
Shanghai Art Museum (Shanghai)
Frost Art Gallery (Miami)
Crowe Asian Art Museum (Dallas)
2011
Ethan Cohen Gallery (New York)
Opposite House Gallery (Beijing)
Beijing Art Fair Special Exhibition (Beijing),
Shanghai Art Fair Special Exhibition (Shanghai)
2009
Pace Gallery (New York)
Shangshang International Art Museum (Beijing)
2008
Harvard University (Boston)
Beijing Museum of Contemporary Art (Beijing),,
Goedhuis Modern Art Gallery (New York, London)
Nicholas Robinson Gallery (New York)
2007
Raab Gallery (Berlin)
Goedhuis Modern Art Gallery (New York, London)
Ethan Cohen Gallery (New York), Central Academy of Fine Arts (Beijing)
2006
Beijing Modern Art Museum (Beijing)
Townhouse Gallery (Cairo)
2005
Goedhuis Modern Art Gallery (New York, London)
2004
Raab Gallery (Berlin)
Jing Yi Xuan Gallery (Hong Kong)
2003
New York Asian Museum (New York)
Ethan Cohen Gallery (New York)
2002
Tao Water Gallery (Massachusetts)
Sea Mountain International Art Center (Shanghai)
2001
Mike Dallas Foundation (New Hampshire)
Revolving Museum (Boston)
Asian Cultural Center (New York)
German Ministry of Foreign Affairs (Berlin)
2000
Trmont Gallery (Boston)
1999
Martin Luther University Gallery (Wittenberg)
1998
Raab Gallery (Berlin)
1997
Tacheles Gallery (Berlin)
1996
Benario Gallery (Berlin)
1995
The Hague Cultural Center (The Hague)
1994
Chinese Professional Painter’s Works Exhibition Hall (Beijing)
Qin Feng Solo Show - West Breeze East water - Beijing video link addrress of exhibition review： https://www.ixigua.com/7016183944424981024?wid_try=1
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