Appreciation of Bing Xu's Works

Phoenix: Whether it is low-carbon or environmental protection, we can't get rid of the essence of "garbage" after all. On the construction site in China, Phoenix used to be piles of trampled garbage. /kloc-in 0/8, when Bing Xu first set foot on the construction site of Beijing CBD after returning to China, he was deeply attracted by the primitive and humble beauty of these construction wastes and the truth behind high-rise buildings.

He agreed to the invitation of the entrusting party and decided to use these construction wastes to make artworks. The final form will be the auspicious totem that China people are familiar with and love-Phoenix. This carefully painted bird, with its expressive artistic language, wandered freely among the concepts of folklore, contemporary, art and society, from the CBD in Beijing to the Shanghai World Expo Park, and became a very striking China art work.

Style: "beauty" or "ugliness" is not important, and style and genre are not that important. After the birth of Phoenix, the most interesting thing is its character of "marrying a chicken with a chicken"-placed in Beijing CBD, which exudes metaphor and reflection on the modernization process of China; Putting it on the Shanghai World Expo adds a trace to history; Finally, it may be brought to Bao Dao by collectors in Taiwan Province Province, or it may become a familiar and unfamiliar totem for people there.

Concept: A lifelong artistic concept is the seemingly old saying "Art originates from life". Every work of Bing Xu is unexpected, giving people a sense of surprise full of aftertaste. As the Italian critic Russo said, Phoenix is "the only art he has ever seen made with the attitude of China people". What is Xu Bing's artistic world represented by Phoenix, or what is his "China people's attitude"? The answer given by the artist is simple and clear, and even a little "outdated"-it turned out to be "art comes from life".

Extended data

The rational restraint of works is mainly reflected in the creative methods and techniques. They are not the direct product of Shirley's ideological trend abroad in the 1980s and 1990s, and they are not radical enough. Unlike inheriting the tradition of Confucianism, Buddhism and Taoism, it is not freehand and ambiguous. Bing Xu's works are more like scientific inventions in the Northern Song Dynasty, which coincides with the modern scientific spirit of the West and pursues concrete, accurate and clear testimony, which may be the reason why westerners can understand his works more easily.

Bing Xu's intellectual's family background and long-term printmaking professional training influenced his way of looking at the world. Constantly paying attention to "social presence", things outside art are the source of "thoughts" in his works. Cross-cultural experience urged him to pay attention to the intersection of Chinese and western cultures and history, and language as a symbol became the object of his analysis.

However, "social presence" is not satisfied with this. Bing Xu even took part in Mulinsen, a public welfare project, and his specific artistic actions intervened in "social existence". The intensity of this constant concern is indeed deeply influenced by the socialist background. When we say that Bing Xu is a conceptual artist, we are closer to the western left-wing conceptual artists than to individualism in the consumer landscape.

References:

Bing Xu (famous printmaker and independent artist)-Baidu Encyclopedia