About "Drawing Ⅲ"
For a long period of time, generations of art students have been suffering from difficult drawing practice, and they made achievements through test-passing, assignments-finishing and works-creating during their art learning years in order to become countless legends. After 60 years shall we doubt that whether "painting is dead" or the drawing still survives? Living in an art era of "contemporary" and "experiment", could we possibly continue the "false" drawing-based art education? Drawing, for us, turns out to be a rather practical topic to discuss the functional problems of art education and art production. In both areas, the problems of drawing-based education are not only external, meaning issues related to social mechanisms of Chinese characteristics, but also internal, which refers to the artists' individual growth. They are even associated with some specific activities and cases, and seem to be generated from self-education and self-production. For art education has long been recognized as a new medium of contemporary art, its functional issues have been integrated into the ontology discussion about the drawing. Is the tendency of this kind of discussion the legitimacy of a specific "drawing history" (if it has a history)?
Is it worth practicing extremely hard for merely a second of glory? Our contemporary life requires us to practice privately or publicly? Premeditated or happens randomly at anytime and anywhere? Preparing works or exercise? Or "I do, therefore I am"? Or the whole situation has no solution, and it will simply start from very beginning again and again? If Kant is still after Duchamp, then what is after drawing? Such questions can be seen as the problems of drawing in a general discussion of the logic of our times up, that is, there are no particular and specific problems about drawing, but only a general sense of arts, a general sense of questioning the existence. Whether concerning about social life or individual life, it is about a logical problem of Zuo -- although at this time, for "Drawing Ⅲ", we converge it to specific problems and phenomena, and it is in a self-discipline way, such as: tutorial classes, standards, fairness, realism, life-drawing, capacity, technology, skills, creativity, "The Wrong", "CAFA Drawing Show for 60 Years," rosary, "God made (Voltaire Liberation) ", that has been recognized by experimental art professional entrance examination and training, leadership sketch portrait, that based on planarity, monochrome, realism, abstract, figurative or specific, retina, exercises, sketches, artworks ...... and vice versa.
By making contemporary the theme, (AMNUA Drawing Series Show) "Drawing Ⅱ、I " presented to be mannerism, digging in the depth of drawing as well as the "expression and limit". It is a show of an infinite medium (from minus two hundred to two hundred percent). Now, here it comes the "Drawing Ⅲ". Although what we present will be "traditional drawing" and the media will be one hundred percent pure, drawing as an art medium will still be cooling and cool - this time, we want to overkill, and all the exhibitors are the "masters among us." The theme will still be present life, No Zuo No Live, thus the exhibition begins. Based on the subjects, the forms and the contents, this exhibition will be divided into different individual spaces (second hall digital link please see below) in order to better present a variety of related and unrelated drawing-practice, phenomena and problems. We will also release an exhibition catalog, "AMNUA Drawing Series Show: Drawing Ⅲ" , to further indicate related academic discussions and researches. Activities included but not limited to are, exhibitions, potential interested artists, institutions, organizations and discussions about current context of the practice of drawing -- "Drawing Ⅲ" is instantly displayed logically as the art of reviving, re-making or re-Zuoing on behalf of the drawing.
About "AMNUA Drawing Series Show"
Different from Painting, we refused to discuss the death of drawing, because we presume that the drawing is "fundamental”. However, the fundamentality is needed to have a fresh view by the approach of the review of its history of concept, a continuous re-understanding of the current drawing practice, only through which, could drawing become something contemporary and will no longer extinct. On this purpose, "AMNUA Drawing Series Show" is made. Through years of continuous and specific planning, as well as exhibitions of the study of contemporary art practice, we aim to rebuild a contemporary concept of "drawing".