我们可以改变信仰 We can change the beliefs 150x77cm 2009
超级底色The supper ground 150X123cm xuchangchang 2008
永恒下跌perpetual falling 150x98cm changchangxu 2008
别动我的向日葵 Don’t Touch my Sunflower 150 x126 cm 许昌昌2007
草地上的午餐 Lunch on the lawn 150 x115 cm 许昌昌2007
长安街 Chang’an Avenue 180x1133 许昌昌2007
假如历史可以忘记 If history could be forgotten 150x121 许昌昌 2007
开国大典Xu_Changchang,_Funding ceremong ,_ NO
掠夺 Plunder 131x150 许昌昌2007
蒙娜 丽莎 Xu_Changchang,_Mona lisa,_ NO.7, 140 x96.54cm x10 ,phtography,_ 2007
胜利之日 The day victory 100x145cmx 10 许昌昌2007
我的总统府 My office of the president 200X107 许昌昌2007
再见江南Goodbaye jiangnan 98.42 x140cm x10 ,phtography,_ 2007
NO_18_Xu_ Changchang,_NO.4,150x112.1cm x10,phtography,__2008
未经过转换的日常生活仍然还是日常生活而不是艺术 ! 这点很重要。然而我们必须清楚地认识到，不是所有转换都明显于表面的可识别性。超越日常认知的转换往往看似平静与司空见惯，却潜藏着波澜壮阔的否定之否定。由此，当代艺术的转换问题不能仅从简单的视觉形态的可识别性来分辨转换的意义，那些似乎没有经过转换的形态却体现出深藏于当代人内心的变化！这才是当代艺术关注的焦点。
Daily life, which is not transformed, is still everyday life. It is not the art. This is very important. However, we must clearly recognize that not all of the transformations are meaningful and distinguishable. Exceeding the day-to-day cognitive transformation often appears calm and commonplace. But it hides the magnificent negation of negation. Thus, the transformation of contemporary art is not from a simple visual identification of patterns which can be converted to distinguish, but the forms which seem not be tansformed, deeply reflecting the changes in heart of contemporary people! This is the focus of contemporary art.
Xu Changchang uses his own unique way to explore and experiment the changes of the outside world and the inner world, which were made by the space and time. His recent works confuse the line of reality and unreality, change the physical presence of substances, and alienate existences between the image and the reality. His works have the possibility of rational dialogue with his subjective choice and changing "the image materials".Also, his works are full of ambiguity, polysemy and uncertainty between the visual world and the real world.
Transcendence over the Paradox of Visuality
Xu Changchang’s Latest Works
By Wang Chunchen
The very appropriation of images by Xu Changchang proves an important feature of contemporary art: image is a system of visual identification and visual knowledge. To some extent, the study of contemporary art is to study image system to surpass the conventional research methods and appraisal system. Xu Changchang in his latest series of art works reconstructs the images from different contexts. This reconstruction continues his former methods as to experiment image language by various particular ways, which deconstruct or subvert the original image visual structures for forming new images. In the context of contemporary knowledge, such subversion and reconstruction of images reveal a new method of reading images and also reflect the reconsideration of their own cultural system by contemporary.
Globally, image is gradually embodied with a tendency and capacity of constructing world, from this point, philosopher, visual cultural scholar, sociologist or even business community and political institutions make use of images to realize their respective aim. Image self-evidently becomes another dimension of intelligence for human as parallel to language. In the knowledge system of human civilization, language is our main tool of intelligent source and communication, while image is in the awkward condition of shifting and hesitation, and in the incessant attack and elimination due to social ideologies, for example, iconoclasm is a kind of negative oppression and eradication of worldly religious images, which aims not at hoping image becomes the worldly stuff that might affect the divine belief and refuses image is the symbol of divine supremacy.
Human since ancient times started to explore the philosophy of discourse made up of language, but the question of whether image can become a kind of cognitive ability for human is not clear and contradictive. To image, we are always negative and ambiguous, because of the unreliability of image and the difference of interpretation, and also of the distrust tradition of image. In such cases, image is either exaggerated or belittled or denied. However, image does not disappear from human society and instead there emerge some theoretical generalizations of ‘image age’, ‘image-reading times’ and ‘image turn’, which is debated without agreement. The exploration and practice by modern philosophy and art history per se has demonstrated that image as one of the important aspects of human intelligent system is increasingly noticed by society, and even now there appears a kind of trend that image surpasses language or more or less deconstructs language function. In fact, what art is today concerned about or what constitutes the critical dimensions of contemporary art are the art that can be read linguistically and visually, that is to say, the art that has potentiality in the cognitive systems of two sorts of knowledge is the significant contemporary art.
Xu Changchang’s recent works are his exploration on these two dimensions. He subverts those various symbolic images he intentionally selects in order to verify the detached relationship between image and reality – that image is not the one of reality, and reality is not the one in image. The subjective selection of and the conceptual interference into image by Xu Changchang invest his works with the distance of rational dialogue and possibility. When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xu’s works, spur his works to enter audience’s habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artist’s conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesn’t stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language. Artist encounters the world of images full of conceptual possibilities by direct perceptual cognition so that both the ‘image’ that exists and the ‘image’ that doesn’t exist (the image of inner mind) has the chance of being interpreted, revealing the uncertainty constructed by contemporary world. Therefore, the study of image today has already had the possibility of surpassing conventional horizons.
Xu Changchang’s exploration and application of special language methods change the structures of images greatly and bring a lot of unusual sensibilities, and the static single image structure is turned into multiple possible interpretations. Its dynamic structure and various chances touch the potential memory and thinking of audience, therefore, the conceptuality of contemporary image becomes a watershed between traditional image and contemporary image, also an intelligent recognizable mark of indiscriminating contemporary art from modernist art.
- the author is art critic/curator and Lecturer of Contemporary Art in China Central Academy of Fine Arts, Beijing