bird and flwoer

[“Bird and Flower Painting for the Proletariat,” Paintings and Installation, TOP Studios, 2010]

bird and flower 2

[“Bird and Flower Painting for the Proletariat,” Paintings and Installation, TOP Studios, 2010]

Accompanying his exhibition in 2012, artist Shi Qing published a few statements regarding his thoughts on his “Bird and Flower Painting for the Proletariat.” The following has been translated from Shi Qing’s blog.

Everything here is surplus, produced in the process of making other things, from other “undertakings”, these are not derivative materials,  the conceptual relationship with the original artwork is severed. A fork in the road, where the branches are larger, thicker than the trunk.

Once alienated from relations of production (Produktionsverhältnisse), the production scale of contemporary art is a capitalist conspiracy: the creation chain linking concept to production and finally to interpretation is a type of manufacturing system, and art works are but a final product; we shouldn’t criticize the production of materials that can be traded, but art’s relations of production in institutionalized academia. The strategy of using surplus materials is intended to avoid this trap.

One should oppose the institutionalization of artists, which is the beginning of self-institutionalization, concepts have already become the most important tool in this kind of self-institutionalization. It acts as the elite political media, while in fact, is no different from the mass media, these two are parallel. Contemporary art production finally devolves into this type of political relationship: you are consumed by your own creation, which has become a kind of new system that controls you.

The form copies modernist aesthetics, and is a hand-made imitation of machine processes, ideas that imitate geometry. Nothing is more suitable for imitating minimalism because a smooth abstract surface will always be plagued by the traces of labor, I call this “breaking with obsessive-compulsive disorder.”

How do we identify the proletariat in China? Temporarily ignoring previous claims on the term, here it refers specifically to empty-handed people within the political system. Everywhere there are people in the service of temporary organizations and temporary aesthetics, they are unsatisfied, but have no other method.

Bird and Flower paintings, perfunctorily speaking, are the “superfluous emotions” of the literati class. Whether they are relishing their moods, or expressing their aspirations, it is clear that these ruminations are mere side dishes to a principal ideology, but as for the proletariat? However, learning art is a cautious undertaking, like a small interest group, or university for the elderly.

(上述说法排序不分前后; The above statements are in no particular order of importance)

石青 Shi Qing (b. 1969) [CV here, photos of his studio here]

Posted in art, exhibitions
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尉 Says:

23 July 2012 at 9:56 PM |
sinopop Says:


24 July 2012 at 8:52 AM |

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