Bad painting appear as a phenomena

Oil painting and contemporary art were also imported into China. During the more than a century since painting was introduced into China along with cultural misinterpretation, the history of Chinese painting and Chinese society has undergone many changes and updates. Under the guidance of China’s special social system, professional fine arts colleges constantly shape the mainstream aesthetic. The history of contemporary Chinese painting also takes place parallel to the “main melody”.To the question “What on earth is art in Chinese society?” This problem can be glimpsed from the phenomenon of “bad paintings” in China.The phenomenon of bad painting gave Chinese painting a release outlet. As far as Chinese tradition is concerned, painting has never been so liberating, and everyone paints what they would not normally dare to paint. It is likely that many people have drew these drafts countless times, but have never put them into a formal creation. Bad paintings give people confidence that they can really paint whatever they want. A bad painting may also reflect a degree of creativity now, which can also be regarded as the development of Chinese painting. It’s a strength, it gives you a certain openness.

“Bad Painting”, as a term of contemporary painting, was born by chance in an exhibition. From January 14 to February 28, 1978, Marcia Tucker curated an exhibition called ‘Bad Painting’ at the New Museum of Contemporary Art in New York. This exhibition gathered 14 little-known American artists. Their works abandoned traditional classical painting forms and reinterpreted the terms “bad” and “humorous” as part of a satirical figurative painting language that reflected the popular photorealism and minimalism of the time. Doctrine challenges. After this exhibition, the phenomenon of “bad painting” has branches in Germany, France, Italy and other places, and it is also regarded as the forerunner of the Neo-Expressionism movement in the 1980s. A certain inevitability is engendered by the times.

Along with Martin Kippenberger and Albert Oehlen, Werner Büttner led the “Bad Painting” movement in the German art world, with radical and provocative paintings. The method jumped out of tradition and influenced the development of subsequent paintings. During the period of modernism’s emergence as a classic in art history, contemporary painting developed three phenomena: professional, non-professional, and anti-professional. “Professionalism” is seen as a large system of measurement, which has a stable paradigm and has been accepted by society. Then “non-professional” is the party to be measured, living outside of “professional”, while “non-professional” relatively loosely and vaguely continues certain unclear rules, and regards professional as “the other shore”. And “anti-professionalism” goes hand in hand with “professionalism” to some extent, and even takes “professionalism” as a premise, which is a response to it. In this interpretation, “imprecise” is regarded as rigorous, and “unclear” as clear, and a reverse or evasive approach is employed to find a new way to change artistic concepts and aesthetic branches.

Bad painting is not a range or style of painting, but a temporary phenomenon. In fact, it does not have much direction, it seems to point to a kind of interest, but it is actually related to the popular conceptual painting before. Usually, when we emphasize concepts, we deny the problems of style and shaping in the past painting practice with a gesture of complete betrayal, and completely lead to the opposite. When a certain type of art in a place reaches a certain degree of saturation and prosperity, there will be a reversal of interest. Bad paintings may originate from what China calls “conceptual painting”. Conceptual painting also has a lot of bad painting habits: well-trained people pretend to be people who can’t paint, look for ambiguous collages in it, and find an intention after a collision. This is the characteristic of Chinese conceptual painting. Bad paintings may follow the superficial situation more, and be more superficial, and use a popular way to wash away the so-called “professionalism” and “popularity”.

The essence of bad paintings is to refuse to watch, and it is a process. In this process, “bad paintings” are individualized and decentralized. This will inevitably lead to the disintegration of the current “painting” concept and “aesthetic” system, painting will become an action, and the “aesthetic” system of painting needs to be established from vision as the foundation to “behavior” as the foundation, ” The thinking of “process” will inevitably lead to continuous changes in techniques and content. There is no progress and retreat, only confrontation in the current context. The “weapons” of confrontation are obtained and used in the “painting process”. When the precious creative vitality of bad paintings is transformed into the purpose of the picture results, the value of bad paintings also becomes invalid, and it seems to return to the vortex of generating a single discourse hegemony for the purpose of resistance, and finally absorbed by the system, leaving only Lower the value consumed by capital. I have to admit that no matter what kind of “painting” it is, there will be a result of viewing, after all, it belongs to the discussion of visual art. However, with the development of art today, painting no longer bears the mission of art history, and painting can obtain an unprecedented independent power in theory at present. The unprecedented advancement of art history makes the appearance of painting more open and reduces the sublime nature of painting. , into life with a lighter, more real role. Painting reveals the “truth” of the artist and life, and the artist truly enters into art in the state of continuous practice.

Through the analysis and interpretation of bad paintings, when I return to my own painting practice, how the artist obtains the independence of creation is a question that has always surrounded me. As an artist, the significance of the practice itself must be greater than the significance of the creation results. Through a year of creation, “gaining independence” means returning to the painting process in the artist’s own context, breaking through his own context to gain new experience. Therefore, the artist’s “identity” is not eternal or time-sensitive. Once new experience is acquired, a new context will inevitably be created, and the artist will constantly break and deny the “identity”, falling into a cycle. Bad paintings, as a way of thinking, are the evidence that the artist destroys himself and creates new contexts time and time again. The problems that have been solved or to be solved one by one return to the painting practice again and again, and at the same time return to the “individual experience”. Practice forms fragments of problems, and the fragments build a network-like structure. Artists constantly practice and negate between materials and problems, forming infinity. Re-changing the “painting” mode is fundamental, this is a reflection on the “process”, not a discussion on the result.