Chapter 642: Fighting between the Dragon and the Tiger (Part 2)

The above is not the point.

The most dynamic part of this painting is not the fluidity of brushwork texture.

It lies in the agility of temperament.

It is the agility of light.

This agility feeling is not so much "dynamic", Tonks prefers to call it "momentum".

Motion is an intense feeling, the lightning-quick uppercut of a boxer, the rolling waves on the seaside in the wind and rain, the rolling stones from the top of the mountain...

Momentum is a kind of energy, static but full of energy.

It is a long breath taken by a boxer after he firmly grasps his opponent with his eyes. It was standing on the calm seaside, looking at the blue-black clouds gathering above the sky-blue sea in the distance on the horizon. It was when backpackers were crossing the valley, they looked up and found huge rocks sloping across the cliff. There was only a thin line connecting the rocks to the mountain.

It is thrilling.

It leads but does not come out.

Brushes, drawing knives, fingers, different material textures blend on the canvas. Eastern and Western artistic aesthetics collide with each other, and finally weave into a flexible network.

Colorful paints pile up on each other, and the energy also overflows, lingers, and vibrates throughout the entire web.

Tonks looked at the screen, recalling it carefully.

It’s not just the people above who have momentum.

Not just the uncle washing the little girl’s hair, but also the sunshine itself.

It seems that even the sunlight is melted and condensed into something with extra weight under the painter's brush.

It is like a huge boulder suspended in the sky.

The warmth of the light on this painting is different from the warmth of the light on "Girl Reading Poems to the Cat". The warmth of the latter makes people feel peaceful, while the former makes people feel that it may change at any time. It cracked in the middle and turned into a sweeping flame.

Put in a row the many works received from submissions at the art exhibition.

Among all kinds of strange and magnificent visual bombardments, "Good Luck Orphanage Under the Sun" is definitely not the most outstanding at first glance.

If you don’t feel the energy of this painting, you may even feel that the composition, interest, and expression of the characters are all mediocre.

This is actually not wrong.

Its composition is very simple to begin with, and there are some ideas for the structural design of the picture, but in Tonks' opinion, it is nothing special.

There are so many contestants in the art exhibition who are good at painting structure, not to mention those modern art schools whose main business is "design".

The interest of this work is even more lackluster. There is no attempt to use one painting to explain such a grand story, there is no love-hate entanglement between men and women, and there is no such profound and sobering story. Social reflection.

Only only.

Once you stop in front of it for a long time and look at it quietly,I really took this painting into consideration.

That kind of momentum will resonate with your heart.

The whole person seems to have become a resonant cavity for the energy of this painting.

The heart is beating.

And you can easily hear the ebb and flow of sound in silence.

This is the most distinctive highlight of this work.

"Mr. Sakai, you just said that it makes sense to talk about creativity after painting a good work. In my opinion, even using this standard, he is very good at using a good painting to express himself. The creativity and ideas are realized. Especially for a young painter like him, the basic skills of painting are very solid."

Tonks commented.

The basic painting skills in the works before me are of course very solid, and can even be said to be excellent.

But on a large stage like the International Biennale, everyone is excellent.

Excellence is the bottom line for participating in the exhibition.

He was definitely still a long way from being able to have Tonks kneel on the ground and sing Conquest right after the painting came out.

Even based on Gu Weijing's current age.

This kind of proficiency in using the pen is astonishing, but it is far from shocking.

The difference between people in the art industry is greater than that between humans and monkeys.

Skills, talents, destiny.

Everything is very different.

Some people paint until they are ninety years old and are still penniless, while some people are the top painters in the world at the age of twenty.

Like Titian, Caravaggio, and Raphael.

Raphael was only seventeen years old when he was painting for clients in Italy and was allowed to add "maestro (Italian: Master)", the top honorific title for painters at that time, after his signature.

And when he surpassed his teacher Perugino in all aspects of technique and style, and was dragged by the Pope to paint the dome painting, he was only twenty years old.

At that time, he was almost as famous as Leonardo da Vinci, who was forty years his senior.

Looking at the art industry as a whole, it is indeed poor, and it is indeed a late-stage profession in which the later one goes, the more mature his brushwork style becomes.

But I can’t stand the huge variance.

On the one hand, Gu Tongxiang, an old comrade who has been painting all his life and has never drawn anything, occupies the majority of the industry. To be honest, although Lao Gu is old and good, he also likes It's pretentious, but at least he has a small painting shop of his own.

Not just in Yangon, but all over the world.

In the past, Gu Tongxiang was definitely not a good person, but he was not too miserable either. He could even be considered above average.

The "down-and-out artist" people call does not refer to someone like Gu Tongxiang, who can still make ends meet.

Go hungry for nine meals in three days, or sleep on a bench in a New York park, lie on the street, or live in a trailer that is so dirty that you can’t see its original color.That kind of thing is called abjection.

On the other hand.

There are many examples of people who earned $10 million before they were thirty.

Not to mention the lucky ones like Hirst who became the number one artist in history at the age of 40.

Tang Ning is in her twenties and has already earned her first one million and the gold medal at the International Biennale with her painting brushes.

There may be a strong element of luck and speculation in what affects an artist's wealth accumulation.

But techniques don’t lie.

When Tang Ning participated in the Shanghai Biennale, she was not much older than Gu Weijing today, but her writings were already full of reality, full of spirit and content, and her every move had the air of a famous artist.

That is true genius.

If Tonks had to say——

Among the many elements that make up this work.

The technique is good, and the painting method can be said to be bright, but it is still the kind that a senior expert like him can understand the painting method with just a few glances.

If this painting method is his own, it is completely a new path that Gu Weijing has taken on the thorny road of art by relying on his own ability, which has never been traveled before.

Say nothing.

This guy is light, electricity, and myth.

Tonks would immediately rush over, kneel down and award the gold medal to Gu Weijing, and then give up her seat and let him be the chairman of the jury.

But if we just make some decorative innovations in texture based on the foundation laid by our predecessors.

Then——

His evaluation is "very smart". At best, he has worked hard on his painting skills. He is very mature and very flattering. He tickled him accurately. It's just a curator's itch.

Weidu Weidu describes the overall temperament of this painting, which is like a solidified flame.

It is no longer just good, but...

Tonks didn't understand.

Yes.

Tonks looked and looked.

He looked at it for a long time, almost pulling out the beard on his chin, but still couldn't figure out how to draw this feeling.

No matter how complex and profound some works are, or how high-concept art theories they contain, it is still easy to understand them as long as you have relevant background knowledge.

Similar to the blank paper of Dadaism or Duchamp's "Fountain", the creation itself does not have any complicated techniques at all, it can even be said that there is no technique at all. How difficult is it to put a piece of white paper in a picture frame or carry a urinal into an exhibition?

The difficulty in appreciation is actually to interpret it and to understand the thinking behind it.

However.

There are also some works that look very simple, just a simple composition and ordinary strokes.painting.

But if you really want to understand how this painting was created, you need not only artistic theory, but also a heart that can resonate strongly with the painter, and even use it with the other person. The same brush strokes and the same emotions can only be used when painting.

Copying works actually does something similar.

For example, Gu Weijing copied the painting "Old Church on a Thunderstorm". At the beginning, he copied the technique. Gradually, he copied the emotion. In the end, he even restored the "soul". ".

Tonks looked at it for a long time.

He found that he could see his painting ideas, all the highlights and deficiencies of his brushstrokes, and the way to match colors... He could understand all the elements in this painting. .

Only, he couldn't figure out why these clearly visible elements were combined into a work that he couldn't quite understand.

When Tonks realized that she could feel how good it was, but couldn't tell how good it was.

He knew it.

Although the other party is more than half younger than himself.

But at least in terms of shaping the temperament of the painting, I am not qualified to act like a curator or pretend to be a big-tailed wolf.

You haven’t even understood it, so why are you commenting?

Then again.

As a curator, Tonks really wanted to show off, and there would definitely be no problem if he gave a few critical comments.

However, after all, Tonks is not a super cool person like Lao Yang who can pretend to be cool and must pretend to be cool.

He still wants to have some face.

It is no longer interesting to say some empty clichés at this time.

In front of his wife, Kazunari Sakai behaves like a fat goat that can only bleat and weighs two hundred pounds. But if Tonks dared to treat him as an ignorant fool and make some fake comments that didn't make sense, it would be out of sheer ignorance.

People may not say anything on the phone, and they may even briefly echo him, but behind his back they will be laughed at to death.

"As for the shaping of the temperament of the picture-perhaps it is too early to make such a conclusion."

Tonks finally said.

"But whether it is this painting or the "Girl Reading Poems for Cats", they are already at the master level. At least, I can say that they are already at the master level."

“You should not thank me, but I should thank you for allowing two works like this to appear in our Biennale.”

……

Uncle Sakai finally hung up the phone.

"That's right. He didn't say it clearly, but from what he said, he probably wanted to give booth No. 1 closest to the gate to Shengzi and Gu Wei.through. "

Sakai Kazunari put down his mobile phone, shook his big belly, and bleated to express his gratitude to his wife.

"I think it's a bit too conspicuous, I hinted to him No. 2, or Booth 3 is pretty good. ”

The best booths at the Biennale are definitely the main booth in the center of the exhibition hall, the core booth and the specially designed special booth required by cdx gallery.

They must also be assigned to the most important works in the exhibition, the biggest and most important painters, or painters invited through special channels.

When it comes to building connections, the most important thing is to be careful. Proper.

If Sakai Kazunari was participating in this exhibition, he wouldn't have to say hello. He would just roll inside and squat on the largest and most eye-catching booth.

Whoever dared to fight him would sit on his stomach. If he didn't sit down, he would scream and squeeze out all the shit. Uncle Sakai didn't even bother to get up. .

With his "heavyweight", he is not the most important person in a biennale of this level, but he is also one of the most important.

No. The best booth was given to him because the curator was ignorant.

His daughter Katsuko was the exhibitor.

It would show his incompetence if he asked for this kind of booth. Sensible.

As for the booth areas allocated to artists who are shortlisted through auditions, the booths closer to the front are better and the more valued they are by the curators.

First.

The first two display cabinets in the exhibition hall are not necessarily the most important works, but they often set the tone for the entire art exhibition.

Secondly.

No matter why everyone comes to the exhibition, the audience just wants to find a suitable angle to take a few photos and post them on WeChat to show off. Is the Hainanese chicken rice in any local restaurant delicious?

The first one or two booths are still fresh in my heart, so everyone will look more seriously.

Some people might get tired after walking around for five or six minutes and find a place to use their mobile phones. For hundreds of tickets, which are not cheap, I will pay attention to those booths at the beginning.

So, the exposure rate will never be low.

Sakai Kazunari. I think Booth No. 1 is a bit too eye-catching.

It’s still the same example as the imperial examination.

In the classic passage of the Peking Opera "Prime Minister Liu Luo Guo", the examiner He Shen was jealous of his talents and secretly engaged in fraud. Not only did they not give Liu Yong the top prize, they also secretly deposed him.

This is of course a dramatic transformation.

First of all, who is Liu Yong? He belongs to Liu Wenzheng. Young Master, it shouldn’t be difficult for his father to rank among the top five or even top three Han ministers of the Qing Dynasty. Can you secretly try to put on small shoes for such a person? Secondly, in the imperial examination in history, it is really like Liu Yong.It is rare for a family with such a background to win the first prize.

It’s too conspicuous and easy for others to gossip about.

Basically, they all look like the top two.

Nothing will be delayed by choosing Hanlin, you will get all the benefits, and it will not be too conspicuous.

The first booth was held by Katsuko Sakai and Gu Weijing. Uncle Sakai thought it was unnecessary and too conspicuous.

Move back slightly to get it just right.

"Be a little clumsy when launching, don't look too special. If you really win an award later, you won't be gossiped about. Wife, wife, I arranged it, okay?" Recently transcoded Seriously, let us be more motivated and update faster. Please use your little hands to exit the reading mode. Thank you