Chen Liangjie: Society as Still Life

Chen Liangjie: Society as Still Life
Event on 2013-10-26 00:00:00
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Locus & Social as Still Life
Wang Chuan & Chen Liangjie Joint Solo Exhibition

In gold autumn season, A Thousand Plateaus Art Space is pleased to present Wang Chuan & Chen Liangjie Joint Solo Exhibition.

Chen Liangjie
Society as Still Life

October 26 – December 15, 2013
Opening: 3:00 – 6:00pm, October 26, 2013 (Saturday)

Chen Liangjie (b.1971, Chengdu) was graduated from China Academy of Art, Department of Oil Painting. Like many artists born in 1970s, Chen Liangjie’s creations keep paying attention to society; however, unlike many artists of the same generation, in his works, there is no attitude toward reality.

“For a very long time in Chen Liangjie’s works, he has tried to distance himself from the audience. He paints remote and open scene, while compresses the inner space, so that the space turns into flat, and one can only tell the distance according to the size in the picture… they always mentally think about them (characters in the picture) as ambiguous mini models, unrelated to us, like another existence. Once the people normally ignored by us are place into a scene without any context of regular life, “they” always present an abstraction of absence. The sense of distance between the works and audience come from two levels: visual perception and social psychology. In his current works, it still exists, even though in another way.”

In the presented works of “Social as Still Life”, “Chen Liangjie begins to select media images. The so-called media images are always “meaningful”. No matter to a terrorist attack, a large happening or a piece of gossip social news, photographs and images are always been used in proving the authenticity of something. However, photographs are always ambiguous and even quirkish…When Chen Liangjie transfers those images from the news website to the canvas, he is actually restoring the opaqueness of the images’ inherent meaning…However, for the visual stipulation of paintings, a photograph looks always empty, therefore, many “photographic paintings” use thick pigment and heavy brushwork. Different from them, Chen Liangjie makes pigment thinner and clear, making the brushwork vague and uncertain, it seems that he doesn’t recreate a painting with a photograph, but to reconstruct a photograph on canvas in the way of painting, and transfer the authenticity of photographs into the authenticity of paintings…. If there was some lyrical expression of life experience in Chen Liangjie’s primeval works, he has nearly removed both the emotion elements of painting and the social meaning of photographs. Emotion has been restored into feelings, images have been restored into vision, while among those levels of restoration, painting has gained the nonconvertible authenticity.” (quoted from Bao Dong’s comments “The Authenticity of Painting ”)

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The Authenticity of Painting — Chen Liangjie’s current works
By Bao Dong

For a very long time in Chen Liangjie’s works, he has been trying to distance himself from the audience. He paints remote and open scenes and compresses the inner space, to make the space turns nearly into flat, and the distance can only be told according to the sizes in the picture. As he has taken out both the contrast of field depth and the continuity of spatial depth, the audience intellectually know it is the distance makes the people in the picture seem tiny; however, mentally, they always think about them as ambiguous mini models, which are unrelated to us, like another existence. Once the people normally ignored by us are place into a scene without any context of regular life, “they” always present an abstraction of absence. This kind of distance between the works and audience come from two levels: visual perception and social psychology. In his current works, even though in another way, it still exists.

He begins to select media images. The so-called media images are always “meaningful”. No matter to a terrorist attack, a large happening or a piece of gossip social news, photographs and images are always been used as proofs. However, photographs are always ambiguous and even quirkish, so Benjamin didn’t think photograph could become a political art, or a kind of art spreading the meaning of ideology, without a title. Without titles or context, the authenticity of images will bring obstacles to the the meaning interpretation. When Chen Liangjie transfers those images from the news website to the canvas, he is actually restoring the opaqueness of the inherent meaning of the images.

Like advertising campaign, many people use media images for attention, while Chen Liangjie pays more attention to the ones with less attention. Therefore, he hasn’t chosen those successful press photographies. Most of the time, he picks more secondary images than standard reporting photographies. As Chen Liangjie notices, for a photograph, the further from the aesthetics in journalism, the closer to the reality; the further from the sense-making, the more exact its visual existence is. So photographs chosen by him are always from those unprofessional reporters, with no intensity in meaning or aesthetics. They were released casually on website, and were rapidly replaced by those more agitating images. Because that paintings are based on visual existence.

However, for visual requirement, photographs usually look too empty to support the image, therefore, many “photographic paintings” use thick pigment and heavy brushwork. Different from them, Chen Liangjie makes pigment thinner and clear, making the brushwork vague and uncertain, it seems that he doesn’t recreate a painting with a photograph, but to reconstruct a photograph on canvas in the way of painting, and transfer the authenticity of photographs into the authenticity of paintings. With the plain tone, even texture, the rejection of body modeling and intended style managing, the traits of photographs are carefully translated to the painting, to make Chen’s work become a kind of phenomenological observation. If in Chen Liangjie’s primeval works there was some lyrical expression of life experience, he has nearly removed both the emotion elements of painting and the social meaning of photographs now. Emotion has been restored into feelings, images have been restored into vision, while among those levels of restoration, painting has gained the nonconvertible authenticity of its own.

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The Landscape of Chen Liangjie
By Xu Sheng

Chen Liangjie’s current works are always wandering between hiding and revealing. At this point, it’s some like his primeval works. In “Only Landscape Can Be Seen” (2010), the picture is quartered. At the left top, a man is running in the desert. He seems wearing a white shirt, black sweatpants and a hair style of literary youth of 1980s. He is running attentively and bowing his head, revealing no emotion. Around him, there seems a field in the North. The sky is heavy; everything seems misted over, each emotion, as well as the symbolic meaning of the landscape and character, is depressed. They are all nubilous. In the other three parts, the picture was covered gray, which is even deeper than the sky, too deep to see anything. All the information is in the first part, even though there is nothing except for what we can see. The title “Only Landscape Can Be Seen” (2010) is implying some answer, some secret in the picture, which is, however, invisible.

In Chen Liangjie’s current works, secrets turn open. At the beginning, the scene of the picture was frankly presenting its own characteristics, only, these characteristics are divorced from the story, and just of their own. They are luggage, patches on the wall, turbid water, or singing children…They are presentations of the scenes, and with the lowest narrativity. Instead, the artist pays all attention to the characteristics. Those characteristics, as the most basic presentation of painting, bring them a kind of pure visual attraction, and making them frank.

However, these characteristics show a strange feeling, to remind the audience something hidden. Sometimes some truths seem to exist in the details and sometimes they seem excluded from the composition, one angular deflection can reveal all. The colors and shapes in the painting present the incontrovertible neutral characteristics while deliberately refrain those strange truths. Thus these visible characteristics change into some kind of silence, cheating and even threat, to make people find their eyes imprisoned.

And then, the story of the scene becomes the only possibility of breaking the imprisonment. They can only be known through description. Most of the time, they are related to some social events, for example, the turbid water is in fact a heavy blood; or they are related to some well-known backgrounds, for example, the singing kids are from North Korea. In fact there’s no need to list those backgrounds here, because Chinese readers can easily comprehend them just according to few keywords, and find the picture characteristics is nearly revealing the whole story. The keyword is an unimpressive knife which can cut the whole mist.

But the point of these works is not to lead the audience to a guessing game, cause once the answer is found, we will come back to the picture. Everything in the picture changes into a scene or a stage, on which nothing is performing. They are scenes before the key events happen, or parts of the happening events, or remains after the events. The only performance in the picture happens between the audience and the events. After the audiences get some of the answers, they will search for the others in the same way. The drama exists right in the process of viewing: all the viewers enter the same background which is well-known and well-remembered by everyone who comprehends today’s reality, deeply. A common and silent memory spreads in the space composed of different works.

Therefore, the color and brushwork of the painting itself begins to bear another viewing, which points to the memory and to the inner world. From this moment, each characteristic of the objects in the picture will be repeatedly searched by the eye of memory. In the drama of vision and memory, the viewing focus is pulled back to the characteristics of the painting itself, which is the only juncture between memory and the picture. In the picture, there is no self-narrative, all the narrative exists in the viewers’ memory. For this reason, if Chen Liangjie’s works is a stage, everything in the picture is a part of the stage, which are invisible stories happening only in the viewers’ memory. Scene is something happening, it’s a story with roles and backgrounds; while stage is something still, nothing will happen to itself. Then in fact, Chen Liangjie’s works are more like stages that show themselves only. Or rather, excluding the viewing process, the stage-like photos are more like landscape. They present themselves, viewers wonder inside, but have no shelter before they find the key clue.

Beyond all question, Chen Liangjie’s works can be included in “social theme”. Chinese artists who were born in 1970s or early always follow social reality. It’s undoubtedly related to their life experience. However, with the development of China’s contemporary art, “sociality” has already become a formulary of creation, or even a formulary of promotion and so-called theoretical construction. In such a situation, no doubt it’s unwise to stand still, but it’s no more than a new adjudge if one just hurriedly changes his creative intent and sets up a new characteristic.

Chen Liangjie’s exploration is different, he continues his habitual attention to social theme, but he doesn’t think about social attitude or position as his ulterior motive any more. He doesn’t wage any attitude to reality, but changes descriptions of reality into the depiction of scenes. During this process, sociality becomes the materials, instead of the final direction, of the painting. Both the understanding and interpretation of events and reality have been collected at the moment of unmasking; and in fact the tension in vision and memory before and after the moment is more important. It comes from the viewers’ survey to the picture and their review of memory.

The new survey brings the painting focus back to the depiction, as well as the connection between vision and the inner world. As mentioned before, the work “Only Landscape Can Be Seen” (2010) is an experiment on depiction and narration mode with a constructional picture; With the new works presented in this exhibition, he begins to select a visual way to make works grappling reality in a way of “reproduction”. Aiming at the viewers’ immediate memory and experience, he chooses reproduction to transfer the constructional vision into the unstructured pictures. This brings Chen Liangjie’s new works endless space, and helps him take a new look at his paintings and its relationship with the trend of China’s contemporary painting. At this moment, Chen Liangjie faces the tension between the reality and the self again, like all the artists do. But this time, the correspondence between self and reality is beyond sociology, and enters a more original indistinguishability of an artist, as well as the rethinking of painting. In such thoughts, Chen Liangjie’s landscape belongs only to himself, it’s deep in reality.

at A Thousand Plateaus Art Space
699 First Tianfu Street, High-Tech Development Zone
Chengdu, China

Reflections At Tower Life | And Some News!

Check out these website photoshop tutorials images:

Reflections At Tower Life | And Some News!
website photoshop tutorials
Image by Definitive HDR
A few updates I would like to share with everyone:

First off I would like to thank Trey Ratcliff as well as everyone over at HDR Spotting for giving me the opportunity to partake in their new website. I got an email last night inviting me into their collection of astonishing HDR artist and feel very honored for the invite.

In other news I got a my new storefront up over at Imagekind which offers up most of my images here on Flickr to be bought as prints as well as canvas. They also do custom framing as well as Museum Wrap and Gallery Wrap for those canvas prints if you select that you would rather have that then a frame. So go ahead and take a look and let me know what you think 🙂

One other pice of info is that Adobe rolled out the free beta of Lightroom 3 which has many cool new features. One of which is to upload your images straight from LR to Flickr which I thought was a pretty cool feature. To view a hand full of updates to the new LR head over to the NAPP site which has a few videos showing off some of the new features.

This particular HDR image is of the Tower Life building here in downtown San Antonio, Texas. Took a while to find the spot but after taking a look at some maps and GPS I was healthy to see that it wasn’t to far from UTSA… I’m horrible with finding places on my own but I can work wonders with the map off MSN.com.

Oh and I nearly forgot… MY BIRTHDAY IS IN ONE DAY. I’m turning 22 on the 24th!!!

12 exposure HDR merged in Photomatix and tweaked a tiny bit in Photoshop.

To learn how I process my HDR’s I have a tutorial up as well as a PDF in it’s description so you can print it out.

See where this picture was taken. | View On Black

Silverback Gorilla Miami Metro Zoo
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Image by Captain Kimo – Catching Up!
captainkimo.com/silverback-gorilla-miami-metro-zoo

Captain Kimo visited the Miami Metro Zoo Friday for the first time ever! What a place. I didn’t know what I was missing out on until now. The awesome thing about the Miami Metro Zoo is that there are no fences so taking pictures of the animals wasn’t restricted by anything obscuring the view. The installation itself was larger than I expected, so massive I didn’t have time to finish viewing the entire facility. Which was fine since it started to rain anyways.

But before it rained I had a chance to photograph this Silverback Gorilla. This huge guy was my main neutral when I got to the zoo. I zoomed passed the rest of the animals only stopping briefly to snap a few shots. When I got to the huge guy’s territory I only waited 20 minutes before he walked to the surround and did posing session for me.

I took a bunch of exposures of this Silverback. I also had it on AEB for some HDRing but Mr. Gorilla didn’t want to stay still for one second. So trying to do a 3 exposure HDR was impossible. When I got home and saw my exposures single exposure HDR was the only way to go. So I took this single RAW file and tone mapped it using Photomatix. The final pseudo HDR didn’t look bad at all. I added textures to give it more of a artistic and at the same time it took away the concrete surround in the background.

Go to My Profile for:
* a list of my photography gear
* a list of my tutorials
* a list of software I use
* a link to my website
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Coral Cove Lifeguard Tower Pastel Sunrise
website photoshop tutorials
Image by Captain Kimo – Catching Up!
captainkimo.com/coral-cove-lifeguard-tower-pastel-sunrise

Go to My Profile for:
* a list of my photography gear
* a list of my tutorials
* a list of software I use
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* add me to your Facebook

GreenEarth

GreenEarth® Makes Each Day Earth Day with New Online Tools to Live a Greener Life












Kansas City, MO (PRWEB) April 14, 2010 –-

The world’s largest brand of environmentally friendly dry cleaning, GreenEarth Cleaning, LLC announced this day the launch of a new feature on its website to help make each day Earth Day. Each day, the GreenEarth website, greenearthcleaning.com, will highlight a new “tip of the day” with relevant information and recommendations on living a greener life. The tips are also acquirable in a supporting online brochure, GreenEarth’s Guide to Living Green that features a year’s worth of easy steps people can take to make a green difference. The company also plans to make versions of its website widget acquirable free, through downloadable code, for websites and bloggers wishing to advance the cause of taking individual positive actions to reduce our collective environmental impact.

“Our study means a lot,” says Tim Maxwell, GreenEarth Cleaning President. “GreenEarth has always stood for green cleaning. Customers seek out dry cleaners using our process because environmental impact matters to them. But dry cleaning is just a small part of that equation, there is so much more we can all do to make a greener earth.” The regular green living tips at greenearthcleaning.com cover a broad range of topics—from painless ways to reduce energy and water usage, to specific steps to eliminate junk mail, to creative ways to be greener in the kitchen, the laundry room or in the car. Most of them save money while helping the planet, and include online links to resources and references for people wanting to learn more. “Living a greener life doesn’t have to be hard, take a lot of time or cost a lot of money,” stated Mr. Maxwell. “That’s why we did this, to spread the word about the really huge impact that small changes can have.”

GreenEarth is the brand study for a patented dry cleaning process that replaces petrochemical solvents with pure liquid silicone, eliminating the decades-old problem of environmental contamination. Silicone is essentially liquified sand; when released to the environment it breaks down in to three elements it is prefabricated from: sand (SiO2) and trace amounts of water and CO2. The GreenEarth process utilizes a shut loop system that grants the silicone to be continuously recycled within the machine, where its one-of-a-kind properties also wage excellent artifact care benefits. Approximately eighty percent of dry cleaners this day use perchloroethylene, or perc, a 1940’s era cleaning solvent considered by the EPA to be an air and water contaminant. According to the EPA, exposure to perc can also lead to increased risk of cancer, eye, nose, throat and skin irritation and reduced fertility. Contamination from spills and leaks can mean millions in clean up costs. California has recently illegal perc and many other says are considering similar legislation.

GreenEarth, which licenses its patented silicone-based dry cleaning technology around the world, represents the industry’s most promising substitute to perc because it solves the problem of environmental country without burdening the dry cleaning operator with significantly increased capital equipment and/or fag costs. Less than one-third of one percent of dry cleaners utilize either of the other two substitute green cleaning methods, CO2 dry cleaning or professional wetcleaning, because their higher operating and capital costs make it difficult to acquire a living.

About GreenEarth® Cleaning

GreenEarth Cleaning, LLC is the world’s largest branded solution bourgeois for environmentally friendly dry cleaning. Their patented dry cleaning technology is licensed by more than 1500 dry cleaners worldwide. The study GreenEarth, the GreenEarth logo, the slogan “You’ve never worn anything like it” and the slogan, “It’s Good for Everybody” are registered service marks of GreenEarth Cleaning, LLC. For more information, visit greenearthcleaning.com.

For more information, contact:

Tim Maxwell

President

816-926-0895

tmaxwell (at) greenearthcleaning (dot) com

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Flash Drop Down Menu: Give Life to Your Site

Drop down menus have become an integral part of website design acting as an effective navigation tool. Since many sites have too many sections, a drop down menu cleans up a scattered layout and gives it a structured and organized look.

A drop down menu can be created using JavaScripting and DHTML. However, these have certain limitation when it comes to graphic and animation. As such, a Flash graphic design can give the appearance of your menu an animated and appealing look. You can also greatly customize your menu through a Flash design.

So, in what ways a Flash web development gives your drop down menu a customized look? Well, such a design can customize your drop down menu’s font size, button size and color, rollover keys’ color as well as the speed at which the menu drop down. However, if one is creating such a menu, he or she should take care that the integrating features should be user-friendly and that the menu is compatible with other Flash application such as the several versions of Flash player, ActionScript, Macromedia MX2004, Macromedia Flash 8, and Adobe Flash CS3 etc. Apart from the compatibility and technicality involved, the layout of the submenu buttons should also be simple.
Drop down menus are now a part of nearly all interactive websites especially the online gaming sites. Such sites are designed in such a manner that the visitor, i.e., the player feels that he is completely involved in the game. As such, the highest level of interactive and lively design is required in Flash game design. Animated drop down menus are specially created by using Flash scripting to give the players a feel of the game.

Creating drop down menus through a Flash makes surfing much faster, easier, and interactive. So why not create one for your site?

I am the webmaster at www.synapse-consultants.com – a Flash web development company offering numerous services, such as content management, offshore software development, online marketing, search engine optimization, search marketing, and website maintenance services.

Article from articlesbase.com

This is a video of how you can use AllWebMenus, a user-friendly tool, to create DHTML menus / JavaScript menus. No need to be an expert.

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