Representative Fu Wenjun introduced

Duan Jun (Doctor of Art History in Tsinghua University, famous young critic and curator, former deputy curator of White Box Art Museum): I have two intuitive feelings about this group of works: First, the works themselves emphasize texture, and the overall tone is quite quaint; Secondly, the theme is open. The author emphasizes the concept of "cloud", which is a metaphor and extension of China culture. Traditional photographers in China who photographed Huangshan Mountain in the Republic of China and those years paid more attention to clouds, so the clouds in My Hometown not only had rich elements and artistic conception in China, but also made the eastern and western cultures skillfully and naturally blend together because of the selection of foreign themes. Mr Fu Wenjun is not only concerned about what is happening in his country and society. The perspective and thinking of his works are based on the world, observing the world and expressing the world, which is commendable.

Wang (Associate Professor of Central Academy of Fine Arts, Deputy Director of Art Museum and Director of Academic Department, Special Curator of Rhodes Art Museum, Curator of China Pavilion of Venice Biennale 20 13): The whole group of works of Cloud in Hometown feels very good. Fu Wenjun adopted the African theme and named it "Clouds in Hometown". The main characters and post-production of his works are exquisite and perfect. After the combination of the two, the relationship is natural and intimate, and the picture is meticulous and aesthetic. Cloud is a kind of nostalgia, nostalgia, disappointment or farewell. It even extends the social conflict and economic development in the world where people live, which is the relationship between its cultural disappearance and globalization. Rousseau once wrote a famous article about "Does the revival of science and art help to eradicate customs?" Today, "cultural aggression" is still a very common modern topic. While enjoying the convenience and efficiency brought by social development, many of our original cultural customs, living habits and scene spaces are being destroyed. Fu Wenjun thought about this problem and expressed it in a new form, and deeply discussed how to maintain the uniqueness of culture in the global environment. From the perspective of conceptual photography, Fu Wenjun's overall artistic creation has been very skillful, and his own understanding and expression of art is also thought-provoking.

Yang Wei (a famous critic and curator of contemporary art, once editor-in-chief of Art Review and secretary-general of the annual meeting of China Art Critics): The cloud in my hometown is a combination of realistic photography and conceptual photography. In the process of his creation, he introduced new artistic creation methods, substituted more thoughts and changes of the artist into realistic photography, and produced the artist's unique photographic works. The original realistic photography added obvious historical traces in the post-processing, which made the work itself ornamental and extended its aesthetic function. This kind of texture and mottling have produced the aesthetic feeling of old photos, even the sense of painting. Aside from the photographer's story, the photo itself is very readable. In fact, in a work, the artist's conception and background are not important, what matters is the feeling of every audience when they see it, and I personally feel the artist's thinking about the differences in history, culture and civilization in this group of works. Generally speaking, Cloud in My Hometown transforms realism into a new aesthetic, which is the result of the perfect combination of modern art nouveau photography and artist's creation. Personally, I want to hang such works in my study and read and think carefully.

Peng Feng (Professor of Peking University Art Institute, Director of Art Department, Executive Director of International Aesthetics Association, Executive Director of China Aesthetics Association, curator of China Pavilion of Venice Biennale 20 1 1): The interesting and serious nature in the series "Clouds in Hometown" can make it easy for people who look at the works to start with the main characters in the works, and the slightly mottled background extends and think about their environment and themselves. Fu Wenjun's handling of the works is novel and creative, and the overall visual effect of the picture is obvious, giving wisdom to the use of clouds, in which the clouds, portraits and mottled textures in the background constitute the distinctive and unique picture effect in the works.

Xia (Associate Professor of China Renmin University, Ph.D. of Wuhan University, famous philosopher, art critic and curator): My first impression of the series of "Clouds in My Hometown" is similar to "painting", but after careful study, we can find that its artistic language is pure, its expression content is simple, and the painting language is skillfully added to photography. Fu Wenjun closely spliced the realistic figures in Africa with the background representing the traces of time, creating a strong sense of visual erosion, which made me strongly feel the influence of time on culture and human beings, which was even more different due to geography and technology.

Jia (the first generation contemporary art critic in China, a heavyweight art critic and curator who is still active in the forefront of contemporary art today): This series of works can first reflect Fu Wenjun's good artistic accomplishment, and secondly make his artist identity more abundant and diversified. Clouds in my hometown integrates painting factors into photography, and its background is handled with the spirit of artistic innovation, which well expresses the language of painting and photography. As a creator, Fu Wenjun has the role of both a photographer and an oil painter, and tries to combine them well. Starting from the culture itself, the work reflects and displays the beliefs and rituals in human nature, so that the floating clouds on the portrait bear the feelings and expectations of the creator.

From the visual display of Totem, we can see that the creative style has changed greatly compared with the previous works. Through the post-production of montage, Fu Wenjun made the picture contain more creative factors of multimedia art, and the deep introversion in his previous works was also transformed into relaxed and magical situational expression. The efforts of the artists in this group of works for cross-border media are self-evident. In the face of Totem, the viewer has to be attracted by the visual tension released by the picture. The visual combination of plane space makes the still photographic works have the visual illusion of 3D effect, thus changing the viewer's visual experience. The key to the strong attraction of multimedia art lies in its vividness, interactivity and virtuality, which makes it easier to spread and accept. Without breaking through the concept of photography, Fu Wenjun grafted various multimedia artistic languages: digital technology, application programming, information technology, computer technology, graphic design software, digital output printing and other technical means into his own works, which made the display and dissemination of works different from the characteristics of the media itself, thus changing the acceptance relationship between the subject viewer and object photography. In the picture, Obama's splicing with primitive tribes, wild animals and world famous places gives the visual space a magical illusion. The mysterious three-dimensional picture under Fu Wenjun's lens can be regarded as another way to reproduce the world, which contains the artist's own perspective on the world and the living experience of the present society, culture, history and life. The space occupation of theme elements, the plane relationship of various factors and the treatment of special effects in the works self-evidently declare the artist's cognition and criticism of cultural centralism, post-colonial culture, man and history, and the relationship between man and nature. As the artist said, the cultural phenomenon and cultural significance implied by totem also have concrete and strong manifestations in the current society, culture, history and life, such as obedience to the cultural center discourse, established cognition of western centralism, blind worship of post-colonial cultural theory and so on. This is not totem worship. The confrontation of various rights relations has been fully displayed in the artist's picture and accepted by the audience in a relaxed and lively way.

—— Luo Yiping (curator of Guangdong Art Museum)

Excerpted from "Magic Scenery under the Lens"

Fu Wenjun, a master of art and an admirer of ancient civilization, led people on a "historical journey" and created a huge contemporary art museum composed of images; Although people have seen these images, the artist re-filtered them with his genius mind of discovering new truth and then presented them again. Essence and conciseness are the key words of this presentation, which is what every artist is eager to do. Fu Wenjun has achieved this grand goal, and now he will tell us how to "watch".

First of all, he told us the oldest and truest ideal: beauty. The beauty shown in his works is broad and has multiple meanings; They have a kind of "beauty contained in themselves", which echoes Plato's idea of belonging to the ideal world. This kind of beauty is western, coming from western ancient philosophy and ancient Greek art, and at the same time it is integrated into the idea of "harmony and unity of all parts" in Roman times, and all kinds of conflicting forces are perfectly integrated; At the same time, this beauty is also oriental, with a balance of yin and yang; This kind of beauty is like physical and mental health and balance.

As for China artist Fu Wenjun's conceptual photography, I think he is a well-deserved pioneer of contemporary oriental photography.

At first glance, we can find that Fu Wenjun's newly created conceptual photography works have excellent artistic expression ability, which is manifested as an amazing and expressive sense of fragmentation. In fact, this China artist used strong visual expression language, creating a shocking effect of strong visual contrast.

In Fu Wenjun's conceptual photography works, he uses unique and novel techniques and exciting imagination and creativity to show the extraordinary personality of the artist hidden under each work. Fu Wenjun made unremitting thinking and research on the art of photography, and his obsession with photography endowed his works with warm and compact visual effects. At this point, we should pay attention to the authenticity of its symbolic concept and its outstanding innovation after breaking through many traditional cultural obstacles.

Fu Wenjun's artistic works are different because they can express his own artistic spirit. These works have broken through the traditional artistic patterns and forms of bondage, and are the result of a revolution rich in philosophy and religious thoughts.

The reduction of emotional content in art and alienation from pure aesthetics have revolutionized Fu Wenjun's contemporary artistic language, which is fully reflected in his conceptual photography. This is an exploration of multiple values in the field of art, which strongly stimulates the intellectuals of the social elite and inspires them to understand and think about the uncertain but conflicting relationship between reality, image and logical expression.

-letizia Lansarotti (Italy)

Excerpt from Fu Wenjun Museum of Contemporary Art.

China said that there are two, two, three and three lives in one's life, and so did he. One here is yang and the other is yin. Neither Yin nor He is the reason why everything exists alone. Laozi said: All things are negative and embrace Yang, while rushing and thinking of peace. The cost here is three. "Three" is like steam in a mixture of fire and water. Neither normal nor stable. Just like the three masters in Mr. Fu Wenjun's works, their existence is abnormal, because their art is based on the breakthrough of medieval artistic thought, and their art is also unstable, because their art will change or be replaced with the development of art, which, in the simplest words, is negation-negation-negation, and "three" is a process of negation: the forward development of art itself is neither an affirmation of predecessors' art, nor an affirmation of predecessors' art. Needless to say, the art of Leonardo da Vinci, Michelangelo and Raphael represents the peak of the Renaissance. The juxtaposition of the three masters can be understood as the most comprehensive display of the Renaissance, representing the present Vientiane. However, since the Renaissance, no matter which school has been replaced, it has not paid as much attention to artistic connotation as the Renaissance. Art is turning to this world more and more with the concept of respecting human nature. From Nietzsche's "God is dead" to baroque neoclassicism, romanticism, realism and many schools of postmodernism, the cultural connotation of art has changed from lofty spiritual enjoyment to nothingness or even destruction. For some artists, contemporary art is a fancy renovation without spiritual connotation.

-vittorio Mazzolini (famous Italian critic and curator)

To sigh with China's play is: "Look at him starting from Zhulou, watching him entertain guests and watching his building collapse". You can imagine Mr. Fu Wenjun's feelings about his home country and history when he gazed at Yuanmingyuan and the Expo Park in the sunset. So when he asked me to hold an exhibition, I couldn't help being asked.

In terms of aesthetic technology, its importance has been waiting for it. His collage and appropriation belong to the rhetoric of contemporary art, and the post-photography treatment is his practice of the concept of "photography". Obviously, radiation photography is closer to creation, which is the artist's ambition. I like a sentence by Professor Xu Tianjin from the Department of Archaeology in Peking University: "The ancient and the modern are integrated, and the present is eternal." As a gift for fellow artists interested in contemporary art. If contemporary art is to last forever, history and futurology are excellent artistic resources. The beauty of operation lies in one heart. As a respected senior artist, Mr. Fu Wenjun's travel skills are inspiring.

In the face of this garden festival spanning more than a century, from Beijing to Shanghai, from barbarism to peace, he always has a feeling of "dreaming in the garden" and doesn't know where he is. Finally, it was condensed into 12 photos of Yuanmingyuan and 8 Expo sites. The dream of visiting the park thundered in a quiet place.

—— Hu (Deputy Editor-in-Chief of New Weekly)

Fu Wenjun, an artist, uses a lot of visual metaphors in his works, and uses various image elements as symbols to express his thoughts. This China artist is excellent in image processing, and he can give full play to this unique creative expression skill in a meaningful way.

-Sabrina Falzoni (Italian art critic)

Excerpted from Fu Wenjun's new concept photography.

The second series of works created by Fu Wenjun is the full picture of the zodiac. The response to major events and the concept of photography are the two main features of these works. The former is related to an event that happened this year: Christie's held "Yves; Saint Laurent and Pierre; The special auction of "Berger Collection" includes 1860 bronze statues of rat heads and rabbit heads that were plundered by British and French allied forces from Yuanmingyuan and lost overseas for many years. This incident aroused strong reaction from the people of China, and also attracted great attention from the government of China and the cultural relics circle of China, because it was an important event that transcended the economic category of auction and involved the history and national feelings of China. It is this that prompted Fu Wenjun to express the relationship between the sculpture of the zodiac in Yuanmingyuan and Yuanmingyuan and the above events from an artistic point of view. In a sense, timely response to events, even simultaneous occurrence and appearance, is the advantage and strength of photography, especially documentary photography and news photography. In this regard, Fu Wenjun's use of photography to respond to the major events that took place under the circumstances is nothing to be commended. But the significance of Fu Wenjun's works is that they don't record what happened at that time like news photography, but put it into a deeper and broader history to reflect after this incident. This is obviously related to his use of conceptual photography, a contemporary artistic method, to deal with this incident.

Fu Wenjun's reflection on this incident is carried out by linking the past and the present, or cutting the present into history. Therefore, Fu Wenjun reinforced the deep historical significance behind Christie's auction by repeating the image of Yuanmingyuan site in 12 photos of the full picture of the zodiac. The twelve laptops forcibly placed by the author in front of the Yuanmingyuan site, as well as the images of the Yuanmingyuan Zodiac in these twelve laptops and the explanatory text in Chinese and English, undoubtedly show and present the connection between Yuanmingyuan, as a site left over from history, and the present world, or the important role of the auction events in reconstructing and narrating that period of history. In this sense, the response of the Zodiac panorama to the current major events, as a historical view, undoubtedly emphasizes the significance and value of the present for re-understanding and rethinking history.

—— Zou Yuejin (famous critic and curator)

Excerpt from The Significance of History

Idle and abandoned steam engine locomotives, daunting workshops, blast furnaces and chimneys in steel plants, railway tracks that stretch like dragons into the distance, industrial ruins and old houses that were razed to the ground in the new urban construction movement, and so on. These are not natural but "industrial landscapes" or "industrial landscapes" created by human beings themselves, which are the themes and objects that Fu Wenjun keeps repeating in his works. The story he told about the city in the video is not a simple futurist's optimistic vision. On the contrary, his works are infected with a lingering sad and nostalgic elegy, just like the sunset in the city, because of the deliberate old technology treatment and the choice of worn-out things, as well as the gloomy and depressed tone.

In Fu Wenjun's works, the scenery of the industrial civilization era is like an ancient tomb that has been sealed for thousands of years, and the distance between the viewer and them is even farther than the real ancient tomb. It is in this sense that his works have the archaeological value of "industrial landscape": the artist rewrote the memory of the city and industrial landscape with a seemingly calm, objective and scientific position and attitude. Subverting another technology with one technology is two-way and fatal: opposing urban civilization represented by "industrial landscape" and opposing modern people and instrumental rationality that create this civilization. The contradiction and confusion in Fu Wenjun's works lies in the fact that although the technicality of the language media of artistic works helped him realize his ultimate creative intention, it was something he had to throw away, such as "getting carried away" and "forgetting fish". I wonder if the artist can let it go?

-Guan (famous curator and critic)

Excerpted from the Landscape and Elegy of the City