Galerie Urs Meile is pleased to announce the second exhibition When the Wind Comes in Lucerne, by the
Chinese artist Ju Ting (*1983), who lives and works in Beijing, China. Following her debut in our gallery in
Switzerland in 2018 and her last show Scales in our Beijing gallery in 2019, this solo exhibition presents the
artist’s progressive development in the three on-going series of her works—Pearl, Untitled and Coral.
The first impression of Ju Ting’s artworks is akin to the sensation of the first fewsteps upon arriving at a rocky desert. One is welcomed by anendless monotonous plain, empty, out of time. Ju’s technique of layering acrylic paint draws a landscape that neither invites nor repulses but just is. As a Chinese philosophical idea says, it is only when the heart moves that one may see movement: what we see reflects our own inner state. The same thought can be applied to Ju’s œuvre: it gives you back what you give to it. Your gaze may follow the lazy dust in the wind, dancing with dry leaves and sticks. In the distance appears a fragile shimmer, warm air ascending in the sun. Almost like a wave in the sea, the slow hills roll across this panorama. A sudden edge reveals a spectrum of colors:layers of stone and rocks, layered on top of each other by millennia of wind, rain and movement. Cracks lead into the glittery light of gemstones in dark caverns. And between the hills runs canyon deep, a flowing river at its base, lush with crawling vegetation and the play of animals.
This is, arguably, the most painterly character of Ju’s work: its self-awareness as ablank canvas for imagination. The three series in the exhibition When the Wind Comes ground on layering acrylic and using its drying process to invite serendipity in. The Pearl
series consists of wooden bases that are covered in layers of
alternatingly colored acrylic and parallel incisions running
horizontally and vertically in close manner. The series Untitled begins with similar layering only to be ripped down, hanging down like curtains after a storm. And Coral
is Ju Ting’s reflection on time, life, death and rebirth. In this work,
the artist reshapes strips of paint and places them atop a concrete
cinder block, an object that is extremely modern in nature, and then
pours several more layers of paint over these materials to fuse them
into a single, growing whole. Through a powerful visual impact and explosive colors, these objects convey a unique vitality, making these long dormant objects radiate with new life.
Ju Ting, Coral, detail
鞠婷从版画教育的学习实践中获得了关于材料和技术层面的深厚的知识，这也使得她得以发展出超越于现代艺术史精细分类的创作风格。绘画材料、丙烯颜料的融合，以及它与版画制作过程中的技术结合，如雕刻和分层，使得作品兼具绘画、版画、雕塑的特征，并质疑了艺术史对媒介的固执观念: 鞠婷使用了一种在西方现代主义范式中可见的艺术策略，却创造了超越 20世纪西方经典艺术的审美体验。从某种意义上说，艺术家创造了一尊新的拉奥孔，我要再次引用克莱门特·格林伯格，在那里个人审美体验的核心是个体内心世界的投射。面对鞠婷的作品，它所给予你的和你最初所付出的将是一样多，只要你能耐心地等待下一阵风吹过，一切都将自然而然地展露出来。
Ju’s deep material and technical knowledge from her education in printmaking enables her to develop an artistic œuvre beyond the discreet categories of modern history of art. The merging of painterly material, the acrylic paint, and its treatment with techniques from the printmaking process, as carving and layering are, results in works that both unite characteristics from painting, printmaking, and sculpting and questions art history’s fixation with the media of art: Ju uses an artistic strategy that may be seen within the western modernist paradigm and nevertheless results in an aesthetic experience beyond art of the 20th century western canon. In a sense, the artist proposes nothing short of a new Laocoon, to reference once more Clement Greenberg, where the individual aesthetic experience lies at its core as the projection of an individual’s inner world. Ju’s works give as much back as they are given in the first place as they patiently wait for a new wind to reveal themselves.
Text excerpted from the essay by Mateo Chacón-Pino for this exhibition.)