Page 243 - 二十世纪及当代艺术

ARTIST BIOGRAPHIES 艺术家简历

temperament of traditional literati paintings, leaving large amounts of white space, and the
theme covers trees and rockeries commonly found in traditional landscape paintings. On the
other hand, Ji Dachun, who is familiar with western art history, is full of grotesque images
and various organs, showing strange appreciation of nature, showing surrealism and breaking
the viewer’s preference for easy-to-understand, direct and beautiful paintings. For Ji Dachun,
it may be easy to draw paintings cater to public’s expectations. However, he has subverted
the restrictions of genre and weakened the external beauty of the artistic images he created.
Because it does not conform to Ji Dachun’s own culture, nor does it depend on the conceptual
standard preferred by western aesthetics.
On the contrary, this seemingly isolated image belongs to a larger system. Ji Dachun refuses
to talk to any specific reality but pursues the impermanence of nature and culture. Because
of this, absurdity becomes a unique filter. Most of Ji Dachun’s recent paintings are abstract
paintings that are more complicated and difficult to read. From time to time, he also painted
on an all-black background. But the problem still exists. His works are not consistent with
common reality. It might be easier for artists to advance in the global environment when it’s
hard to tell what kind of cultural upbringing the artist had. Ji Dachun may have chosen his style
unconsciously, and what his art shows is precisely the principle of refusing to be classified.
Thus, the uncertainty of style attracts every individual who is interested in contemporary art. It
isn’t easy to contextualize Ji Dachun’s art. This refusal forms part of his aesthetic view. Most
art is based on some widely accepted connotation, while artists refuse to present images that
easily resonate. Perhaps, to put aside the explanation of his works is the key to understand his
creation. Ji Dachun keeps his works out of the meaning given by the outside world, because
this is the only way that works for him.
His works are unpretentious and unforgettable. Articulating one's understanding of the present
is also an achievement. On the one hand, we must acknowledge the intricacies that come with
cross-culturalism, while at the same time minimizing the impact of one culture on the other. This
two-pronged approach is not a weakness, but a strength-exactly what we feel from Ji Dachun's
artworks.Solo Exhibition:2022 “An Acrylic Skin: The Recent Works of Ji Dachun”, Triumph
Gallery, Beijing;2020 “Rain in rain, cloud in cloud, at no one's fingertips”, Nagel Draxler Gallery,
Berlin, Germany;2017 “The Sound of Silence – Ji Dachun’s New Works", AYE Gallery, Beijing;
2015 “Ji Dachun", Barbara Gross Galerie, Munich, Germany;“Surreal Realities – Ji Dachun”,
Ludwig Museum, Koblenz, Germany;2014 “Without a Home”, Ullens Center for Contemporary
Art, Beijing;2013 “Forgotten Desires and Accompanying Clouds”, Museo d′ArteContemporanea
Roma, Italy

贾蔼力（b.1979） 1979年出生于辽宁丹东，2004年毕业于鲁迅美术学院油画系第二工作室，2006年毕业于鲁迅美术学院油
JIA AILI 画系研修班。近期个展：2021，《莽原》油罐艺术中心，上海，中国；2019，《燃烧》，高古轩画廊，
纽约，美国；2017，《贾蔼力》，马拉加当代艺术中心，马拉加，西班牙；2015，《贾蔼力》，葛拉西
Lot 1513
宫美术馆，威尼斯，意大利；2012，《寻找光的使者》，新加坡美术馆，新加坡；《哈利路亚》，站台中
国，香港；2010，《达摩流浪者》，康奈尔大学，HartellGallery，伊萨卡，美国；《早安，世界》，何香
凝美术馆,OCT当代艺术中心，深圳，中国；《信...》，Iniva国际视觉艺术机构，伦敦，英国。近期群展：
2020，《绵延：变动中的中国艺术Duration:ChineseArtInTransformation》，民生现代美术馆，北京，中
国；《静默长假》，西岸美术馆，上海，中国；2019，《巴黎圣母院展览》，高古轩画廊，巴黎，法国；
2016，《混血的地球——多众知性公论场》，釜山双年展主题展，釜山市立美术馆，釜山，韩国；《宇
宙与艺术》，森美术馆，东京，日本；2014，《未来一代艺术奖》，平丘克艺术中心，基辅，乌克兰；
《与绘画有关》，OCAT，当代艺术中心西安馆，西安，中国；2013，《双向刺点:作为表象的切入口,一种
绘画》，蜂巢当代艺术中心，北京，中国；《重写风景:印度和中国》，韩国国立现当代美术馆，首尔，
韩国；2012，《开放的肖像》，民生现代美术馆，上海，中国；《观测者》，HaunchofVenison，伦敦，
英国；《自旋—新世纪的十年》，今日美术馆，北京，中国；《Ctrl+N：非线性实践'2012光州双年展特