April 29, 2012

qiu shihua: white field

excerpts from the current exhibition 'white field'
hamburger bahnhof, berlin
through 8.5.12

qiu shihua o.t., 1986 privatbesitz, courtesy m bochum kunstvermittlung © qiu shihua, foto: eric jobs

qiu shihua o.t., 1991/92 privatbesitz, courtesy m bochum kunstvermittlung © qiu shihua, foto: eric jobs

qiu shihua o.t., 2001 sammlung sigg © qiu shihua, foto: sammlung sigg

qiu shihua o.t., 2005 privatbesitz, courtesy m bochum kunstvermittlung © qiu shihua, foto: eric jobs

qiu shihua o.t., 2006 courtesy galerie luis campaña, berlin © qiu shihua, foto: jens ziehe

the nationalgalerie at the hamburger bahnhof – museum für gegenwart – berlin is proud to present the first solo exhibition by the chinese artist qiu shihua ever to go on show in a european museum. a selection of works, spanning from his early paintings from the seventies up to his most recent canvases, are emblematic of qiu shihua’s overall oeuvre.

at first glance, qiu shihua’s works appear as monochrome, almost completely white canvases. however, on closer inspection, expansive landscapes emerge from their painterly surfaces, which, depending on the way you look at them, gradually blossom with detail, or recede again from view. the complex visibility of the images can only be truly grasped through closer scrutiny.

with the white landscapes the artist questions the concept of visibility in painting. the artist has his motifs appear and disappear, as they lie captured in and under thin, white layers of paint and translucent glazes. the way qiu repeatedly revisits the ‘white landscape’ as a picture type and his tireless occupation with the nuances of its changeability are signs of taoist thinking and a taoist approach to work. this outlook is characterized by the process of repetition, whereby presence and absence, the full and the void, depiction and withdrawal are brought into constant interplay with each other. the depiction of a landscape forms one pole in this process, while the simultaneous effacement of the same forms the other. seeing becomes an interplay of perception. in this, associations can be drawn with the shan shui (or ‘mountain-water’) tradition of chinese painting, which required similar modes of seeing in a shifting process between the opposite poles of emptiness and fullness of the depicted subject.

qiu shihua’s white landscapes hover between the poles of western attitudes to abstraction and reduction on the one hand, and east asian concepts of repetition and emptiness on the other. his works are an expression of a sustained ambivalence, which manifests itself in the ‘white landscapes’ as ceaseless changeability of subject and perception.

qiu shihua was born in 1940 in zizhong, sichuan province, china. he studied painting at the xi’an academy of fine arts, where his training was primarily in traditional chinese painting.
more press

many thanks to staatliche museen zu berlin for providing press images for this post!


Anonymous said...

feels like getting lost in soft dense fog
a pleasant sensation