Ge Feng
Born on March 1975 12, Jilin Province, China.
Now working and living in Marseille, France.
Artist number: G3827 10 (France)
Exhibition of paintings:
In June 2009, it was exhibited at Carzou Art Foundation.
In May 2009, the exhibition was held in the Cuadro Gallery in Dubai.
June 5438+ 10, Shanghai Moganshan Houmen Gallery.
June 5438+February 2008, joint exhibition in Chengdu Sichuan University Art Museum (accidental meeting)
In 20081October, 165438 was jointly exhibited in Shanghai Xinbo Gallery (Marseille present tense).
In 20081October, 165438 was jointly exhibited at Shanghai Basse Art Center (5.4+ 5.6 Shanghai Marseille 1 1 person exhibition).
In September 2008, he held a solo exhibition at the ECUREUIL Culture and Art Foundation in Marseille, France.
In August 2008, the exhibition was held at Chelsea Art Center in new york, USA.
From June 5 to 10, 2008, he held a solo exhibition in Morlott Gallery, Marseille, France.
In June 2007, it was jointly exhibited at a large international art exhibition in northern Germany.
In June 2007, he held a solo exhibition in Oliwa Du Gallery in Aix-en-Provence.
In April 2007, it was jointly exhibited in the "Smoke-free Gallery" in Las Vegas.
In April 2007, he held a solo exhibition at Brocquier Vocational College in Marseille.
In April 2007, it was jointly exhibited in the "Marseille Cultural Space" in France.
In May 2007, it was exhibited at the Royal Museum of Art in Marseille, France, and won the second prize of the French State, which is also the only mass award.
In June 2006, it was exhibited in Morlott, Marseille, France.
In June 2006, it was exhibited in Oliwa du, Aix-Provence.
In April 2006, he held a solo exhibition in Marseille Gallery, France.
June 5, 2006 to 10, Asanol, Marseille, France.
In June 2005, it was exhibited at Thierry Castle in Paris, France.
June 5, 2004 to1October 5, 2004, Gambia Republic of Africa (French Union).
In July 2004, the exhibition was held in an art salon in southern France.
In June 2004, he held a solo exhibition in Saint REMI, Provence.
In May 2004, it was exhibited at the Rome Crop Museum in Saint REMI, Provence.
In March 2004, it was jointly exhibited at Marseille Business School.
In June 2003, it was jointly exhibited at the Bigazzo Museum in Paris.
In May 2003, it was jointly exhibited in avignon wine producing areas.
Education:
In June, 2005, he obtained the French National Diploma of Advanced Professional Plastic Arts (DNSEP Master) from Marseille National Institute of Advanced Arts.
Ge Feng: French works are lighter, China.
On February 7th, 65438, the Chengdu-Marseille Contemporary Art Invitational Exhibition named "Accidental Meeting" opened in the Art Museum of Sichuan University, with 27 artists from Marseille and Chengdu, China participating. In the past, Chengdu artists mostly communicated with the outside world by "going out of Sichuan". Now, there are more and more exhibitions of artists from other provinces and even foreign countries and their works "Walking into Sichuan". Why is there such a change? What will it bring to local art? With these questions, the author interviewed the curator of this exhibition, French Chinese artist Ge Feng.
An exhibition of "Accidental Meeting"
Q: Why did you think of doing such a cross-border exchange exhibition? How is it formed?
Ge Feng: I often travel to Europe and see exhibitions by artists from China. Since 2002, there have been many exhibitions. By 2006, they were all the same artists, performance art, some installations and several painters, and their works were all very good. But always the same people. French artists think that China artists paint like this. This time, I will take a group of French artists to China to have a look. These French people are my good friends. I really can't finish reading them. I can only watch some small clips. Besides exhibitions, we also have to communicate with local artists and visit artists' studios.
I am a painter, not a curator. This exhibition was made by accident. Before the exhibition, I didn't have a list of Chengdu artists, let alone their works. The artists participating in the exhibition know half of He Gong and half of me. When they get together, the exhibition will be held. Professional curators can't do this.
The French don't have a heavy mind.
Q: Art is an international language. These pictures are put together. What do you think are the similarities and differences between the works of French artists and our artists?
Ge Feng: At first glance, it seems almost the same, but on closer inspection, it is completely different. French artists are more interesting, while domestic artists are more narrative. This is just my personal feeling. These artists who have settled in Marseille have different nationalities. Marseille's environment is free and pleasant, and there is no constraint on creation. French works are also narrated, but they are flexible and add more factors. (I think) France has the strongest theoretical system in the world. By nature, the French do not think heavily, and artists' works are frivolous and generally "playful". When I first arrived in France, I asked a local artist about the influence of German expressionism on him. He said that he knew (Expressionism painting) might have some influence, but he didn't care. Not long ago, I took these French artists to Shanghai Moganshan Art District. The painters there are not bad, but the French asked me how they painted so much like the paintings of several people. I say we look down and enter the painter's studio, and there will be something else.
Art Market and Art Education
Q: Do you think the convergence of artistic creation is caused by artistic education?
Ge Feng: This has a lot to do with education and following the market. In 1950s and 1960s, French art education cancelled basic courses and paid attention to conscious thinking training. Sketches, colors, portraits ... even if they exist, they are short-lived. When I see the difficulties caused by their lack of skills, I sometimes doubt (this art education). But judging from the works completed from grade one to grade five, they put aside their skills and focused on their personal consciousness, drawing very well.
Q: Do you think the recent entry of foreign artists into China to hold exhibitions is related to the financial crisis?
Ge Feng: It is a good thing for foreign artists to come in, which will bring some fresh thinking consciousness and broaden their horizons. The market is fair, and no one grabs the share. A large part of China's art market is the capital of foreigners. Before the financial crisis, it was the dream of these French artists to come to China. In fact, they are deeply influenced by China culture. They have seen the originals of China's famous paintings and the translations of China's famous paintings in the museum. If there is an opportunity, they will come at once, which has nothing to do with the financial crisis.
Going abroad encounters "painting death theory"
Q: You studied painting, Chinese painting and realistic oil painting in China. Continue to study after going abroad, and the picture has changed a lot?
Ge Feng: When I first arrived in France, the theory of painting death was very popular in France. To be realistic, just take a photo. I lacked freedom when I used to draw by myself. In the first year (in France), I didn't paint, but made images and installations. My understanding of space changed when I came into contact with painting again. I have a series of painters. I don't understand foreign languages and often use gestures. Many gestures are international, such as "good" and "bad" in children's games, "scissors and stone cloth" and "binoculars" simulated by hands, which are found in almost every country. I add the "ink accumulation method" in Chinese painting to present it. The accumulation of ink in different parts of the hand seems to be light, but it is actually heavy. This series is full of compositions, all of which are big oil paintings, giving people a sense of tension and oppression. The second is the pleasure series, which depicts my girlfriend's Winnie the Pooh. I don't draft, but it's "violent". I just paint the canvas with a brush. The third series is the scenery. There is only heaven and earth in the picture, and there is nothing in the middle. One of them was painted on the third day after the earthquake and was "typed" in red and black. This way of painting makes the walls of my studio full of colors (laughs).
Q: Have you ever wondered why you paint like this?
Ge Feng: I can't think when I paint, but I will think later. Why should I paint like this? For example, the pleasure series may be related to childhood, and Winnie the Pooh represents the childhood of an era. In China, I might have thought about the result of this painting in advance. The process of painting is to copy the images in my mind. Now painting is a "satisfying pleasure", and the body is free to gallop in consciousness, drawing very freehand. For example, drawing hands and body parts is done by controlling strokes with China's brush. After years of study, (I) broke through realism (methods), (took apart the original consciousness) and (let them) fall off one by one. Organizing and decomposing a body requires a balance, binding and unbound.
Overseas, China tradition has become a bright spot.
Q: I read your article. It seems that you are still thinking about China's traditional culture abroad?
Ge Feng: Before I went abroad, I worked as a teacher for six years and also did business. I met many people and read many books. Don't look when you go out, everything is floating out. I kept walking and tidying up to see what countries richer than China think of China and countries poorer than China think of China. The name China is so loud that Africans will think that people in China know kung fu, and they will show off when they see you (laughs). China people also feel very "martial arts" outside. Whether it is "being alone in the Jianghu" or being together with a group of people, it is a very interesting cultural phenomenon. What is the tradition of China overseas is a question that you must answer. In order to make the west understand, you are activated. Taking Wan Li Road makes people's thinking more flexible. Many modern artists in China are a "floating group". They may appear in Beijing, Shanghai and Guangzhou, which is a very good thing. Because the culture between provinces may be different, going out to produce integration and coming back is another kind of return.
Q: Many artists are thinking about how to return to China tradition. What do you think of this problem?
Ge Feng: Every country's traditional culture is different. Young people don't care about this, they only know "playing". In fact, China people live in "tradition". For example, we will consider whether our behavior is appropriate or not, depending on the environment. But when I am alone, or with many young people, I am "crazy" and develop my hobbies to the extreme, such as listening to music, watching dance and drama. Personally, I think I must be "crazy" to release myself and seek freedom. The kite will be very long, but it can be pulled back at any time.