Asian art since the 20th century +265438.

For people living in different world views and values, the arrival of the new century is actually the beginning of seeking mutual understanding, respecting their respective cultures and transcending differences, especially in the regrettable reality of violence, hatred and lack of communication. This beginning and its continuation are particularly important, and we have an obligation to fill this deep rift. As far as art itself is concerned, it is particularly important to participate in social reality with its integrity, simplicity and credibility.

At the turning point of this century, when we look at Asian art, we seem to hear the voices of "cooperation" among artists. It embodies the exploration and pursuit different from the previous cooperation methods and concepts. On the other hand, looking around, we can see that "* * * cooperation" has also been widely used in different fields and industries of society and has become a popular language, reflecting the changes, trends and requirements of the language framework in the 20th century. Although up to now, A and B still go their separate ways, their cooperation will certainly bring new development.

As far as the art field is concerned, changing the previous framework will is also the foundation of paying attention to * * * and cooperation. What are the characteristics and tendencies of "* * and cooperation" for Asian new art at the turn of the century?

In the past, there was a so-called order production in the art field, just like a large sculpture, which sent the work to the workshop for production. Just like the film system, it is a division of labor, and then many people participate in the same production. Of course, in modern art production, there is a "workshop" or "workshop" mentoring relationship, regardless of the East and the West, works are shared by many people. However, the cooperation to be displayed in this exhibition is not a means directly, but an end. Through co-production, it is expected to form relations and exchanges with the producers. Or pay more attention to the place where * * * and cooperation are formed, and the various relationships between * * * and production are reflected in the works, making it an opportunity for creation.

An obvious tendency is that, as producers of rich traditional crafts and popular popular art in Asia, they can actually be classified as professional craftsmen rather than artists we are used to, and they are sometimes regarded as participants in the production of artists' works. This kind of cooperation is not limited to the co-production of a certain work by artists and craftsmen, but also includes the forms in which handicrafts or works of popular art made by craftsmen are quoted by artists and absorbed into their own works.

Among the artists who participated in this exhibition, Indonesia's Nindityo Adipurnomo showed concern for craft and technology, and tried to cooperate with craftsmen. Based on the ancient capital, he has always regarded the subject consciousness and identity of Javanese as his own problem. He has a high degree of enthusiasm and concern for Java traditional culture and handicraft world, and naturally integrates it into the cooperative production with Java rattan craftsmen.

Although other works are not directly made by artisans, there are not a few that use traditional technical works as raw materials, such as Anoli Perera, who put her grandmother's wedding dress and ready-made flower chains into her works to express the history and memory of middle-class women in Sri Lanka and draw yarns on hand-woven fabrics of ethnic minorities. Pinaree Sanpitakk, who makes it look like a breast, Yin Xiuzhen, who uses clothes and boxes actually used by real people as devices, and Adeela Sleman, who tries to cooperate with craftsmen, technicians and urban commodity manufacturers.

There are also artists who directly cooperate with craftsmen by learning traditional skills and crafts. One of the most representative is Panya Viginthan asarn, the first figure in traditional Thai painting. He fully mastered the mural techniques of traditional temples in Thailand, and adopted the techniques made by traditional workshops when creating. Others are Long Sophia, who gives the story of Lamaism a modern feeling through traditional pattern techniques; Li, who takes China mythology and folklore as the creative source and absorbs folk film and television dramas; Alak Roy, using regional traditional ceramic techniques to create sculptures; Aisha Khalid, using traditional miniature painting techniques to express modernity problems and consciousness; Noni Kaul, who inherited the painting skills and religious image "Rangoli" of women in the family; And Risham Saeed, who uses scientific and technological elements.

On the one hand, the theme of "* * * cooperation" revealed in this exhibition is a new understanding of the concept of "art" from the west in order to surpass it. In other words, this is also a question about art as an artistic view created by a so-called genius. On the other hand, under the background that the central position of painting and sculpture in the modern concept of "art" seems to be a fixed system, we consciously introduce and absorb the surrounding handicraft technology, popular art and folk art, and re-understand the meaning of "art" from an Asian perspective.

In these works, there are cooperation between artists, cooperation between artists and craftsmen, and exchanges and cooperation between ordinary people. Chen Shaofeng lived in a village for a long time, communicating with the villagers, and taking painting portraits of farmers as his job. Satish Sharma's photography studio has become a device of self-expression, where people who were originally objects participate in creation and discover themselves through cooperation with photographers. Nikkis Lee went deep into various public communication facilities in the multicultural society of the United States, and the concept of his works was established through everyone's participation and cooperation. Lin's work takes the experience of cooperating with friends to circle the ball as an important element of his work. Liu Xingdian's works began to be established and developed through the participation of ordinary audiences in the production of his "Magic Money". All these put forward a new understanding of the single artistic direction and relationship of "the audience appreciates the works created by artists".

In this exhibition, there are also artists who are committed to * * * and communicate with each other, or artists who can achieve * * * and communicate with each other. For example, You Beiling expressed the unique daily space and romantic love of a big family with her paintings, which was sublimated into a "place" for a big family to live together. Jung Yeondoo will introduce his works like the dream dance floor of ordinary workers, and show one side of life through dance as a cooperative way. Soeung Vannara makes kites in exchange activities. John Frank Satado, in the communication place between mountainous areas and ethnic minorities, regardless of "art" and "incantation", used his works as a communication facility and a prayer for natural environment protection, showing another layer of function. In his sketches, Song Xianshu shows his childhood memories of his hometown through magical spiritual strength and simple symbolic object modeling.

From the late 1980s to the early 1990s, with the collapse of the cold war structure and the process of democratization, great changes have taken place in economic growth and social conditions, and at the same time, great changes have taken place in Asian fine arts. There are more and more works involving political and social themes; Artists pay more attention to themselves and reality than before. Things around them and daily life are applied to installation or performance art, and an art form of introducing communication into reality begins to appear. This is what we call "the form of audience participation". On the one hand, the audience participated in the setting of this exchange and cooperation place, and also participated in the production process of artists' works.

Here, the social function of the work has changed, from expressing various phenomena in a rapidly changing society to participating in the real change itself. As far as its background is concerned, the rapid social changes have disintegrated the traditional * * * and social and extended family systems, and people have lost their previous mutual relations, and people have begun to seek to rebuild new intimate relationships. On the other hand, however, due to the accelerated development of science and technology, information exchange and media communication have become very easy and convenient. The rapid development of modern information network, mobile phone and e-mail has ushered in a new era of information transmission and exchange, and its disadvantages have also appeared. The e-mail conversation between couples in the family has lost the fun of language conversation, and the relationship between people has become weak. It is not impossible for art to realize the communication between people at a deeper level and bind the relationship between people here. At a certain time, in a certain way, starting from simple information exchange, people strive to construct a healthy and dynamic communication mode and possibility in order to become a natural form. The trend from information exchange to cooperation actually implies the changes of Asian art in the past three years.

It is through the exchange and cooperation of "hands" that this exhibition shows the trend of caring and rich interpersonal relationships. Now, as far as the international art trend is concerned, video works with advanced technology are extremely popular, and this trend is increasing year by year in Asia. However, at the same time, the trend of works related to rich traditional crafts and folk arts, as well as works reflecting warm interpersonal relationships such as handcraft, handcraft skills and crafts, is gradually increasing. Today, terrorist incidents and wars can be broadcast live to the whole world by satellite. In this era when digital images have flooded the world, we can revisit "cooperation with people" in turn, so that we can re-understand and feel the charm of art.

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