Exhibition Beijing

Gestalt and the Gaze: Part of Neo-Mōrōism Exhibition Series
2019.06.11 (tue) - 09.10 (sat)

Tokyo Gallery +BTAP is proudly hosting the Neo-Mōrōism series exhibition entitled Gestalt and the Gaze from June 11 to September 10, 2019. This exhibition is curated by Wang Shuye, one of the leading figures who spearheaded the “Neo-Mōrōism” movement. Participating artists include: Zhu Jianzhong, Wang Shuye, Ye Jianqing and Tian Wei.

This exhibition attempts to offer up a concise theoretical framework with which to maneuver in it, in the hope of sparking in-depth analysis and further clarifying the concepts underpinning Neo-Mōrōism. If we view everything from the all-encompassing perspective of the spatio-temporal world, we perceive the uncertainty in all differentiation and variation of things. Conversely, hidden beneath a non-deterministic world view lies the holistic stance of existence itself, as well as a holistic absoluteness and immutability. This thorough, non-deterministic perception constitutes a “transcendent viewing” which remains constant despite the transformation of all things. It’s a wisdom-based perspective from which to understand our never-ending existence, and is wholly different from understanding the fickleness of things through intellectual cognition.
Painting is the most direct presentation of ways of seeing. By representing objects in such a way that it eliminates or reduces certainty and differentiation, attempts are made to get rid of or reduce artificial world views that involve objectification, attribution of meaning, conceptualization and intellectualization, and instead usher in an inert mental state that helps people cut loose from their diacritical understanding of things, and enables them to perceive the non-cognition-based, absolute world.
The current state of affairs of Chinese contemporary art is obvious to all, and yet it still hasn’t been able to cast off the methodological yoke of Western contemporary art. The four artists showcased in this exhibition have consistently explored the visual arts framework of Neo-Mōrōism. They each have their own distinct ‘look’ and ‘thoughts’ on the visual expression that is ‘Mōrō’. They give full scope to oriental spiritual thought and wisdom-based experience, meanwhile calling into question the rational premise of modern society as well as the conceptual foundations of our existing modes of perception, as they try their hand at constructing breakthrough artistic methods in the process.

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