Since the Chinese abstract art master Zao Wou-Ki (born 1920 in Beijing; died 2013 in Nyon, Switzerland) began his abstract painting creation in the 1950s, he has been trying to integrate Eastern and Western artistic concepts and forms, and expressing the cultural heritage of the East with abstract brushstrokes. Although the artist once said that concepts such as “landscape” and “landscape” would make abstract painting fall into the framework of reproduction, after 2000, after decades of creation, Zao Wou-Ki once again “returned landscape”, fully integrating abstraction Complete large-scale works with the characteristics of landscape. This time ART BASEL, the work “Triptyque 2000-2001” brought by LGDR is a triptych with a total length of 750 cm and a width of 220 cm. Under the huge scale, the viewer can feel the abstract painting composed of lines and colors. shock. The composition of the triptych is also not viewed as a separate unit, but rather presents visual coherence when combined. The coherent and smooth lines make the painting seem to break the boundaries of the frame, making the work look like a scroll of ink landscape, and its momentum extends infinitely outside the painting. Zao Wou-Ki once said that the motive for creating large paintings is pure artistry, and the process of painting is a complete projection of one’s body and spirit, and one is completely immersed in it. Watching “Triptych 2000-2001” not only feels the impact of scale, but also explores the artist’s characteristics of layout and color use, and how to express the flow and power of brushstrokes from a distance from a distance or a distance. A fusion of Eastern and Western aesthetics.
Unseen in public for the past 15 years, Zao Wou-Ki’s second largest painting, Triptych 2000-2001, is a model of his oeuvre, embodying the freedom he found later in his career as he incorporated Asian traditions of multi-panel composition. into the context of contemporary art. The work embodies Zao Wou-Ki’s fusion of abstract expressionism and the language of nature in Chinese art, as well as Impressionist influences – here Paul Cezanne’s “Mont Saint-Victoire” series – resulting in works that exemplify his evoking dynamism and the ability of the mind to transcend the direct representation of the natural world. In the context of Basel, the triptych will further resonate with viewers familiar with Ferdinand Hodler’s famous successive landscapes. A truly contemporary work, Triptyque 2000-2001 erases the boundaries between the real and the imagined, creating an immersive atmospheric environment.
The “Unlimited” section of Art Basel, originally designed for large-scale works that are difficult to display in regular gallery booths, has developed into a venue for displaying more academic or conceptual large-scale works. “Unlimited Imagery” adopts a curatorial system. This year’s exhibition is curated by Giovanni Carmine, director and curator of Kunsthalle St Gallen, Switzerland. The participating works reflect the complex years we are experiencing and further expand the regionalism. category, including more artists from Asia and Africa.
