Exhibition Beijing

5th Neo-Mōrōism (2013 - 2018)
2018.3.3(sat) - 3.15 (thu)

Location: Academy of Arts&Design ,Tsinghua University Visual art center
Opening reception:March 3, 2018 (sat) 16:00

Academy of Arts&Design ,Tsinghua University Visual art center and Tokyo Gallery +BTAP are pleased to announce the 5th installment of Neo-Mōrōism, held from 3rd Mar until 15th Mar this year at Academy of Arts&Design ,Tsinghua University Visual art center.

Neo-Mōrōism was conceived of as an ongoing project back in 2013, with the aim of spearheading the spread of Asian culture and art in the rest of the world. We invite Chinese curator Lu Xiaobo, the president of Academy of Arts&Design, Tsinghua University and Korean curator Kate Lim as the joint curator. Following up on ideas present in the three previous editions, for this fifth installment of Neo-Mōrōism we invite art critic Pi Daojian and Japanese art critic Minemura Tashiaki to take up an academic consultant seat. Su Dan, the Assistant dean of Academy of Arts&Design, Tsinghua University is the conference host. This edition of Neo-Mōrōism brings together 23 artists from China, Japan, Korean and western world, among whom will be Chinese artists Wang Shuye, Zhu Jianzhong, Qiu Shihua, Tian Wei, Ye Jianqing, Tai Xiangzhou, Wu Qiang, Zhang Quan, Zhang Tianjun, Lin Yusi, Korean artists Kim Yun-Soo, Rhee Kibong, Kim Taeksang, Lee Jin-Young, Kim Eun-Joo, Kim Hong-Joo. Japanese artists Yasue Kodama, Yasushi Yamabe, Tomohito Ishii, Nobuo Kurosu and SHIMURAbros
. American artists Elizabeth Allison. German artist Florian Richter.
.


Mōrōtai paintings, to use the term now in current use, were the result of a particular painting process. Fundamentally, color took over the job of contour line. Paintings that rely on ink line for definition typically leave areas of ground, the silk or the paper, untouched. The ink stands in graphic contrast to the unpainted surfaces and the painted forms are sharp and clear. Wash in ink or color can define atmosphere or make forms less distinct, but the painter need not paint all parts of the painting’s surface. Mōrōtai was the opposite: like an oil painting, the surface of the work was entirely painted in order to express the idea of an all-encompassing, circumambient atmosphere. Air and its sensory factors of humidity, light, and temperature are the matrix within which all forms exist, and so mōrōtai painters treated their surfaces just as oil painters did to favor organic, unified depictions.

In 1904, Okakura Kakuzō accepted an invitation to head the Asian Department of the Museum of Fine Arts, Boston. At the time, he brought with him two representative figures of “mōrōtai”: Yokoyama Taikan and Hishida Shunso. He organized solo exhibitions for them in respectively New York and Boston, which were successful, both from an academic and market perspective: most of the works on show made their way into museum collections. This particular occurrence can be said to have been influenced by Turnerism. It greatly influenced the zeitgeist, as it meant that the West and Asia shared one and the same concept. In the 21st century, which has seen Asia and the West rubbing shoulders, it’s paramount that both sides look for concepts they have in common. We’ve planned out this exhibition in the hope of inciting reflection on the part of the viewer.


"Neo-Mōrōism" attempts to integrate the unique experience of East Asian modernity. In this process, new artistic possibilities are hewn out, which might lead to principle-based contributions concerning aesthetic theory. "Neo-Mōrōism" attempts to integrally usher Chinese culture and East Asian culture into its reiteration of modernity, to once again return to the starting point of Impressionism, and once again unlock nature's profundity, allowing nature to reflect upon our bodies, thus activating the natural qualities of nature, natural qualities that possess more inner depth, i.e. a divine emptiness rather than an external divine worship. This is a divinity that holds humanity's internal potential in high esteem. It has excavated a blank or void attitude to life proper to Far Eastern culture. It has unlocked a divine non-dimensionality, and activated this non-dimensional spirit. This spirit is far from a deity. Instead, this spirit is prone to growth, whereas Western contemporary art is generally overly theatrical, with its excessive desire for revolution. This calls for a balance of intrinsic natural qualities, which undergo imperceptible influences. Hereby, the relation between man and nature, as well as the relation between man and divinity is reestablished. Converging in this exhibit are the works of contemporary artists representative of Far Eastern modern aesthetics. They present a visual exploration, in which Chinese, Japanese and Korean artists arouse/invoke the potential that stems from the individual as well as from culture itself. In doing so, they've made a contribution in the form of a highly individualized artistic language. Between these respective artists, an internal dialogue exists which gives way to the creation of a hazy, enchanting visual field and spiritual vibe.


The Seminar of the 5th Neo-Mōrōism will be held at 9:30-12:00 on 3rd Mar. The critics and artists will also have an discussion about Neo-Mōrōism.At 4:00pm on Mar 3rd ,Opening of the 5th Neo-Mōrōism will be held at Academy of Arts&Design ,Tsinghua University Visual art center. We look forward to having the honor of your attendance and participation in this exhibit!

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