Miao Xiaochun
21 Jun - 03 Oct 2007
© Miao Xiaochun "Fountain of Youth"
2007, C-Print
big size: 228 x 360cm, Ed.8 (VIII), (3panels, each 228 x 120cm),
small size:170 x 269cm, Ed.12
2007, C-Print
big size: 228 x 360cm, Ed.8 (VIII), (3panels, each 228 x 120cm),
small size:170 x 269cm, Ed.12
MIAO XIAOCHUN
"H20"
Opening: June 20th 2007, 7 p.m. – 9 p.m.
Exhibition: June 21st – October 3rd 2007
Miao Xiaochun has come back, down to earth. Back from the spheres of heaven, with figures floating in the detached and airy space that he so closely explored in his last large picture-series „The Last Judgement“. And yet, it is not so much the firm and solid ground of earth that the Chinese photo-artist is interested in. He rather turns his attention towards an element which, at first sight, seems about as hard to grasp as the atmospheric range of the sky: water. However, the framework that he chose for his explorations (investigations) consistently remains the same: the array of art-history. He furthers his forays through the world of Western art and painting. And he leaves many enthralling hints for the observer, allowing him to follow.
Masterly in his use of digital visual media, Miao Xiaochun time and again lets us dive down deeply into a perfectly animated parallel world. Into the modern, artificially created imagery of cyberspace – new, and yet strangely familiar. For the artist uses our knowledge, the history of our world-view, our painting, our space of image and imagination – all reflected in the mirror of famous works of art. The allusion to this frame of reference allows him to phrase and convey his thoughts. We know the artworks and models for his pictures. And exactly because we know them, we can’t help but think of them parallel to the process of perception and artistic reception.
Miao’s works function as picture puzzles, in which we newly discover well-known aspects. A totally new space of meaning opens between what we actually see, and what we imagine within. By means of this double vision, the artist initiates a process of interpretation within the observer. It is exactly in this space in-between that signification is constituted, and the artist conveys his statements. Miao Xiaochun’s approach is consistently self-referential. The artistic means of expression not only aim at a certain content to be imparted, but also always point towards themselves.
Consequently, not only the process of perception and reception is subject to artistic reflexion, but also the patterns of narration used by the own actual media.
The famous artistic prototypes are not simply converted 1:1. Miao subtly varies the perspective and noticeably modifies the formal design and construction, bringing on a perceptible shift of meaning. But all these changes can only be understood in the synchronism of both pictorial worlds within the process of artistic reception. At the same time, the artist personally appropriates his models by projecting his own figure into these pictures – a digitally animated, virtually fluidised "Alter Ego".
Miao Xiaochun did not choose his points of origin at random. Unifying element within the rooms of reference for his new works is the motif of water. As source and indispensable (essential) element of life it turns into a Fountain of Youth (referring to Lucas Cranach’s work from 1546), but also into a means of ritual purification, as in the artistic subject of the Foot-washing (obviously alluding to Giotto’s famous frescoes in Padova, in the Capella degli Scrovegni all’Arena, created between 1304 and 1306), or also, highly dramatically, into The Deluge (as in the work by Johann Heinrich Schönfeld, from 1636/37, noticeably serving as a model for one of Miao’s new works).
Already these few examples illustrate: As a motif in art, water is present at all times. Visible expression of the flowing of time and power of life, and full of symbolic implications, the element of water becomes a mirror. A mirror of various ideas and perceptions, attitudes and cultural values, a mirror of time and society. Looking on water invites us to contemplation: on human existence, on ourselves. Miao’s new works aim to explore this motif in yet another mirror: the mirror of art history. Water again and again becomes a metaphor. A source of creation and signification, and a source of art – continuously changing and flowing, and yet always present, just as art itself.
"H20"
Opening: June 20th 2007, 7 p.m. – 9 p.m.
Exhibition: June 21st – October 3rd 2007
Miao Xiaochun has come back, down to earth. Back from the spheres of heaven, with figures floating in the detached and airy space that he so closely explored in his last large picture-series „The Last Judgement“. And yet, it is not so much the firm and solid ground of earth that the Chinese photo-artist is interested in. He rather turns his attention towards an element which, at first sight, seems about as hard to grasp as the atmospheric range of the sky: water. However, the framework that he chose for his explorations (investigations) consistently remains the same: the array of art-history. He furthers his forays through the world of Western art and painting. And he leaves many enthralling hints for the observer, allowing him to follow.
Masterly in his use of digital visual media, Miao Xiaochun time and again lets us dive down deeply into a perfectly animated parallel world. Into the modern, artificially created imagery of cyberspace – new, and yet strangely familiar. For the artist uses our knowledge, the history of our world-view, our painting, our space of image and imagination – all reflected in the mirror of famous works of art. The allusion to this frame of reference allows him to phrase and convey his thoughts. We know the artworks and models for his pictures. And exactly because we know them, we can’t help but think of them parallel to the process of perception and artistic reception.
Miao’s works function as picture puzzles, in which we newly discover well-known aspects. A totally new space of meaning opens between what we actually see, and what we imagine within. By means of this double vision, the artist initiates a process of interpretation within the observer. It is exactly in this space in-between that signification is constituted, and the artist conveys his statements. Miao Xiaochun’s approach is consistently self-referential. The artistic means of expression not only aim at a certain content to be imparted, but also always point towards themselves.
Consequently, not only the process of perception and reception is subject to artistic reflexion, but also the patterns of narration used by the own actual media.
The famous artistic prototypes are not simply converted 1:1. Miao subtly varies the perspective and noticeably modifies the formal design and construction, bringing on a perceptible shift of meaning. But all these changes can only be understood in the synchronism of both pictorial worlds within the process of artistic reception. At the same time, the artist personally appropriates his models by projecting his own figure into these pictures – a digitally animated, virtually fluidised "Alter Ego".
Miao Xiaochun did not choose his points of origin at random. Unifying element within the rooms of reference for his new works is the motif of water. As source and indispensable (essential) element of life it turns into a Fountain of Youth (referring to Lucas Cranach’s work from 1546), but also into a means of ritual purification, as in the artistic subject of the Foot-washing (obviously alluding to Giotto’s famous frescoes in Padova, in the Capella degli Scrovegni all’Arena, created between 1304 and 1306), or also, highly dramatically, into The Deluge (as in the work by Johann Heinrich Schönfeld, from 1636/37, noticeably serving as a model for one of Miao’s new works).
Already these few examples illustrate: As a motif in art, water is present at all times. Visible expression of the flowing of time and power of life, and full of symbolic implications, the element of water becomes a mirror. A mirror of various ideas and perceptions, attitudes and cultural values, a mirror of time and society. Looking on water invites us to contemplation: on human existence, on ourselves. Miao’s new works aim to explore this motif in yet another mirror: the mirror of art history. Water again and again becomes a metaphor. A source of creation and signification, and a source of art – continuously changing and flowing, and yet always present, just as art itself.