'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Ji Dachun was born in 1968 in Nantong, Jiangsu Province, China. He graduated from the oil painting department of Central Academy of Fine Arts in 1993. He now lives and works in Beijing and Berlin.
During his college years, Dachun believed that 'the more distinctive a painter is, the more value the painting holds'. Later on, he realised that academic standards had failed him and that he should set his own ones, which span across his career for decades. He strives to stick by his 'pure (own)' style colliding Chinese traditional and Western contemporary art. Ji Dachun's paintings, on the one hand, have traditional literati painting temperament, leaving large amounts of white space in them, often with themes typically seen in traditional Chinese landscape paintings such as trees and mountains. On the other hand, Ji Dachun is also familiar with western art history. He studied impressionism and American abstract expressionism, and was fascinated with Baltis. The grotesque images and varied organs in his works show surrealist colours. This collision between the two cultures corresponds with Ji's artistic ideal to create a work of natural complex/synthesis which speaks to both cultures. Ji Dachun's paintings show his strong control over pictures and keen perception with colours. His arts, impulsive and introspective, also reveals somewhat inappropriate absurdities, complicated and varied in styles.
Ji Dachun's creative path is constantly changing in accordance with his moods and standards. A great number of exhibitions at home and abroad reflect his influence, which include:
Solo exhibition: The Sound of Silence (AYE Gallery, Beijing, China, 2017); Ji Dachun (Barbara Gross Galerie, Munich, Germany,2015); Without A Home (Ullens Center for Contemporary Art, Beijing, China, 2014); Forgotten Desires and Accompanying Clouds (MACRO—Museo d'Arte Contemporanea Roma, Italy, 2013); Gray Moment Ji Dachun (AYE Gallery, Beijing China, 2012); Bird Painting without Bird (Barbara Gross Galerie, Munich, Germany, 2011); Seeing Is NOT Believing (AYE gallery, Beijing, China, 2009); Ji Dachun (Soka Contemporary Space, Taipei, China, 2001).
Group exhibition: Blank Cheque (AYE Gallery Beijing in Berlin, CFA, Berlin, Germany, 2017); The 56th Venice Biennale (Venice, Italy, 2015); New Sights in Chinese Contemporary Art, (Prague, Czech; Belgrade, Serbia; Sofia, Bulgaria; Bucharest, Romania, 2013); Ctrl+N Non-Linear Practice 2012 Gwangju Biennale Special Exhibition (Kunstmuseum Luzern, Gwangju, South Korea, 2012); China's Revision (Ludwig Museum, Koblenz, Germany, 2008); AURUM L'or dans l'art contemporain (Center PasquArt, Switzerland, 2008); Absolute Images II (ARARIO Gallery, New York, USA, 2007).
We have sent you an email containing a link to reset your password. Simply click the link and enter your new password to complete this process.
Scan the QR Code via WeChat to follow Ocula's official account.