{"id":8099,"date":"2013-07-02T08:49:00","date_gmt":"2013-07-02T08:49:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=8099"},"modified":"2022-12-22T09:06:04","modified_gmt":"2022-12-22T09:06:04","slug":"an-acquired-taste","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/an-acquired-taste\/","title":{"rendered":"An Acquired Taste?"},"content":{"rendered":"\n

Wang Xingwei solo exhibition<\/strong><\/a><\/strong><\/p>\n\n\n\n

UCCA<\/a><\/strong> (798 Art District, No. 4 Jiuxianqiao Lu Chaoyang District, Beijing, China 100015) May 5 \u2014 August 18, 2013<\/strong><\/p>\n\n\n\n

As Clement Greenberg once remarked, an art critic is obliged to report their value judgements. It is a statement that seems obvious, yet isn\u2019t, in fact. In an essay related to those published posthumously in \u201cHomemade Esthetics\u201d (sic). \u2014 a book in which he expressed great distaste with the state of art criticism \u2014 Greenberg stated that value judgements are the substance of aesthetic experience, a fact he refused to debate. He went on to assert that these judgements are \u201cacts of intuition,\u201d and that to define intuition of this kind one must resort to the word Taste. This kind of evaluation, he insisted, is essential \u201cfor the sake of what\u2019s in art\u2019s gift alone.\u201d(1)<\/p>\n\n\n\n

I invoke this essay because until now, I have disliked looking at Wang Xingwei\u2019s paintings. Recently, however, and in the wake of seeing his work at UCCA (a very grand solo exhibition, and one work in the Duchamp show) and at 0100001 (supporting sketches), this may have changed. But before giving way smoothly to commending the work, it is tempting to pick a little at this \u201clike\u201d and \u201cdislike.\u201d For Greenberg, \u201c\u2026Art is first of all, and most of all, a question of liking and not liking \u2014 just so.\u201d(2) As well as positive reactions, unfavorable judgements can also be useful, or engaging. Think of when an interviewee dislikes their questioner \u2014 quite often more enticing \u2014 or socially how much more energy is apt to criticise than praise something, or someone; we remember mistakes acutely, too. Negativity and development tend to etch themselves more deeply than what is easily positive \u2014 such is human nature, perhaps.<\/p>\n\n\n\n

\"\"<\/a>
Wang Xingwei, \u201cUntitled (Flowerpot Old Lady)\u201d, oil on canvas, 117 x 91.5 cm, 2011
\u738b\u5174\u4f1f\uff0c\u300a\u65e0\u9898\uff08\u82b1\u76c6\u8001\u592a\u592a\uff09\u300b\uff0c\u5e03\u9762\u6cb9\u753b\uff0c117 x 91.5 cm\uff0c2011<\/figcaption><\/figure>\n\n\n\n

But what of this change from dislike to like? There is a particular relationship with things one used not to like. In art, the critic Peter Schjeldahl advised one reader to \u201cstick around\u201d in the presence of a work of art they hated, believing that judgement of art often evolves from initial dislike to appreciation, whereas as works liked at the outset can later prove disappointing (3). The artist Edward Ruscha apparently said \u201cBad art is \u2018Wow! Huh?\u2019 Good art is \u2018Huh? Wow!\u2019\u201d The search for a frame for this alights on \u201cacquired taste.\u201d In more moderate circles, this is described simply as something one has \u201ccome round\u201d to or grown to like. Elsewhere, philosophers like the late Peter Goldie believe certain tastes are acquired wilfully and self-consciously \u2014 faking it until the sensation becomes true (an argument he delivered in a lecture entitled \u201cOysters and Opera: How to Acquire an \u2018Acquired Taste\u2019\u201d (4)).<\/p>\n\n\n\n

Arguably, Wang Xingwei\u2019s work is an acquired taste \u2014 at least of a \u201cHuh? Ah\u2026\u201d kind (if not yet \u201cWow!\u201d). The combination of this huge eponymous exhibit at UCCA and a show of his preparatory sketches at 0100001 in Caochangdi regardless convey an active mind and quick hand \u2014 the swoop of Wang\u2019s pencil and brush over subjects as varied (or sporadic) as penguins, Duchamp, socialist realism, himself, Mao, suitcases, death, art history, football, Nazism and Summer boating. It is unusual to have the benefit of multiple shows at the same time, which certainly adds to one\u2019s experience of the work.<\/p>\n\n\n\n

\"\"<\/a>
Wang Xingwei, \u201cDevelopmental Step\u201d (1-4), oil on canvas, 130 x 440 cm, 1997
\u738b\u5174\u4f1f\uff0c\u300a\u8fdb\u5316\u7684\u6b65\u4f10\u300b\uff081\uff0d4\uff09\uff0c\u5e03\u9762\u6cb9\u753b\uff0c130 x 440 cm\uff0c1997<\/figcaption><\/figure>\n\n\n\n

But first of all, why might one dislike his output? Wang floats himself in a strange stream of imagery; it has been likened less to fine art than to a filmic method, where a particular figure or posture sometimes appears in successive frames, slightly altered. Here, for example, is the old lady in the window with flower pots and clumsy mitten-like hands apparently threading a needle (untitled \u201cBonsai Old Lady\u201d, 2012); here she is again with flower pot for a head; on a balcony; in a room. It comes across almost like a rude sampling \u2014 \u201cHow about this?\u201d the artist seems to say, \u201cOr this?\u201d It is a transgression that can feel crass or, perversely, lazy; it deflates the artist\u2019s decision \u2014 that confident, respectful address to a chosen composition. This seems to be less the transformation of materials expected of good artists and more an indifferent probing \u2014 its results delivered like so many sample products (certainly an affront to the temple of art).<\/p>\n\n\n\n

Other works are downright horrid, even if deliberately so. \u201cStupid\u201d (1997) evokes the very worst of what \u201ccontemporary Chinese art\u201d has offered to foreign buyers in the past. A painting like \u201cExtortion\u201d (2004) mimics naff village scenes of the kind found on cheap greetings cards from the South-West of England. Disconcerting is the way in which these apparently indifferent subjects sit with far more serious or sinister imagery, which might come in the form of self-portraits or murderous scenes like the body being butchered in \u201cDoctor Bethune\u201d (2010). Hitler appears, too, as one of so many characters in Wang\u2019s flippant cast. The series \u201cDevelopmental Step\u201d (1997) with its embarrassment of monkeys and fireside Neanderthals is far removed from most things one could call artistically appealing. Then there are the rather irritating cartoonish paintings of a couple in a punt, or enacting a heart shape with their bodies as if in an advertisement, or gliding along on suitcases or scooters \u2014 scenes that are shallow and un-diverting. There is a sense of a scattergun approach, and with it an atmosphere of stiffness and haste.<\/p>\n\n\n\n

\"\"<\/a>
Wang Xingwei, \u201cUntitled (Selling Eggs)\u201d, oil on canvas, 240 x 200 cm, 2007
\u738b\u5174\u4f1f\uff0c\u300a\u65e0\u9898\uff08\u5356\u9e21\u86cb\uff09\u300b\uff0c\u5e03\u9762\u6cb9\u753b\uff0c240 x 200 cm\uff0c2007<\/figcaption><\/figure>\n\n\n\n

Some find Wang\u2019s work uneven, and indeed, there is marked inconsistency in his application of paint and his \u201cstyle\u201d (which is not one, but many); where \u201cAscending\u201d (1999) is subtle and smooth, for instance, the untitled (\u201cPenguin Trolleys,\u201d 2008) is patchy to the point of looking pixelated. The painting of female figures on an inflatable dingy (untitled \u201cHostess and Nurse in a Raft\u201d, 2005) emulates the visages of Tamara de Lempicka, and Wang has done a Chinese soldier in the pose of Manet\u2019s 1863 \u201cOlympia\u201d (\u201cRecruit,\u201d 1998). But why? The appeal of the works or their artistic  consistency is not sufficient to justify a retort of \u201cWhy not?\u201d In general, the collective aura of the works is ambivalent \u2014 a combination of fervour and indifference, unstable yet earnest. Is this a part of \u201cart\u2019s gift,\u201d as Greenberg had it? Wang Xingwei himself declines to discuss his work critically (though the UCCA catalogue has a daunting stab at this with three dense essays). He is self-effacing, in claiming that his work is not so grand a thing as \u201cart,\u201d and by describing paintings that have \u201ca certain stupidity to them.\u201d(5)<\/p>\n\n\n\n

And now to the other view \u2014 the intangible thing which slows one\u2019s pace through the UCCA show, dispeling the dislike and turning it gradually to attentiveness, regard. True, there is a disarming and fluctuating range of paintings here. Yet in some way, this shameless mass becomes a measure of the works one finds really \u201cgood\u201d \u2014 almost as if this was the artist\u2019s own aim. Take, for example, the \u201cDevelopmental Step\u201d series with its ugly brown colour and similar content and, nearby, \u201cMidas\u201d (1997), a smooth oil painting containing the figure of Duchamp, posed like the Thinker and with a hand on the head of a gold statue of a child, gazing at and past his bottle rack in a dark room.  A work such as this clearly marks the intrigue and subtlety evident in Wang\u2019s work of the 1990s \u2014 before the penguins and air hostesses really appeared. Further works supporting this include the mid-1990s series with a man wearing an ochre shirt that line one wall at UCCA.  Called \u201cMy Beautiful Life\u201d (1993-5 \u2014 the man with his arm around a woman as they lean over an urban canal bridge at sunset), and \u201cDawn\u201d (1994 \u2014 again, a couple, the man this time gesturing into a cobalt distance). These are enigmatic images, and beautifully executed, invoking veiled personal story and common experience. Two further works \u2014 \u201cThe Oriental Way: the Road to Anyuan\u201d (1995) and \u201cBlind\u201d (the following year) make powerful reference to Maoist imagery \u2014 the great leader atop great landscapes, on an equal footing with a dramatic sky. The skill with which these have been done is undeniable; the compositional language through which they speak retains the compulsion of a propagandist purpose.<\/p>\n\n\n\n

\"\"<\/a>
Wang Xingwei, \u201cBlind\u201d, oil on canvas, 200 x 180 cm, 1996
\u738b\u5174\u4f1f\uff0c\u300a\u76f2\u300b\uff0c\u5e03\u9762\u6cb9\u753b\uff0c220 x 180 cm\uff0c1996<\/figcaption><\/figure>\n\n\n\n

Wang Xingwei\u2019s talent as a painter draws one in elsewhere, too. Much as he might seem indifferent to his subject-matter (he is quoted in the press text as calling an artist \u201ca postman\u2026who should not be curious about what is inside the envelopes\u201d), his brushwork certainly is not. He is an artist of consummate ability with his chosen medium, and there is delight for the viewer (and the artist, too, one suspects) in the sheer surfaces of the paintings \u2014 the creases in clothes or the portrayal of light; foliage, skin and texture can and do leap from his brush. Furthermore, Wang\u2019s talent in reinstating compositions recognisable from art historical masterpieces \u2014 Manet\u2019s aforementioned \u201cOlympia\u201d as it reoccurs in the self-portrait \u201cAscending\u201d (1999) can be unduly striking, with a seductive omniscience.<\/p>\n\n\n\n

Indeed, if one were seeking an artistic figure to interrupt a canonical respect for art history, and dispute the assumption of a pure-style-per-artist, then Wang is rightly famous for doing so. As such, his oeuvre as conveyed through this UCCA retrospective comes across as artful and perhaps intelligently sardonic (read teasing), yet still affirming the inherent singularity of an artistic mind and its application. In a recent profile of the artist which is worth quoting at length, Zhang Li approaches this idea:
\u201cThe significance of Wang Xingwei\u2019s painting lies not in his paintings per se, but in their treatment of the great construction that is painting. His paintings do not express anything by themselves. Rather, their effect\u2026is relational. They relate to a system constituted by all paintings, ancient and modern, foreign and Chinese.\u201d<\/em>(6)<\/p>\n\n\n\n

\"\"<\/a>
Wang Xingwei, \u201cA Sunday Afternoon in the Youth Park\u201d,oil on canvas, 165 x 300 cm, 2009
\u738b\u5174\u4f1f\uff0c\u300a\u9752\u5e74\u516c\u56ed\u7684\u661f\u671f\u5929\u4e0b\u5348\u300b\uff0c\u5e03\u9762\u6cb9\u753b\uff0c165 x 300 cm\uff0c2009<\/figcaption><\/figure>\n\n\n\n

But here one might stop this acquired taste in its tracks \u2014 that is, if the taste acquired is meant to relate to Greenberg\u2019s description of intuition and the sheer \u201cliking\u201d of an artwork. At this point, one is inclined to examine this acquiescence, begging the question of what an acquired taste is in the context of the art world \u2014 largely thanks to its market, a hotbed of coercion. Do directors of art institutions, for example, choose to show work they like, or find \u201cinteresting,\u201d or which to educate the public about, or that their imagined audience will like? UCCA\u2019s text certainly leaves little room for disagreement, calling Wang a \u201chero of the avant-garde\u201d and a \u201ckey figure,\u201d the complexity of whose vision \u201cproves the depth and richness of the tradition to which he belongs;\u201d such wording is likely to forestall intuition. That said, those already fond of the work and sure of an intuitive liking of it are more likely to stride past the clamouring wall text; would there be fewer new admirers of Wang\u2019s painting if it wasn\u2019t there? Such issues are endemic to current conventions of display.<\/p>\n\n\n\n

\"\"<\/a>
Wang Xingwei, \u201cBrother-in-Law Is Busy Again But Didn\u2019t Forget You\u201d, oil on canvas, 200 x 300 cm, 2001
\u738b\u5174\u4f1f\uff0c\u300a\u59d0\u592b\u518d\u5fd9\uff0c\u4e5f\u6ca1\u5fd8\u8bb0\u4f60\u2026\u2026\u300b\uff0c\u5e03\u9762\u6cb9\u753b\uff0c200 x 300 cm\uff0c2001<\/figcaption><\/figure>\n\n\n\n

In his chagrin, Greenberg complained of art works being constantly \u201cexplained, analyzed, interpreted, historically situated,\u201d but of the \u201cresponses that bring art into experience as art, and not something else\u201d as going unmentioned. Surely, to call Wang Xingwei\u2019s work strong on the basis of its relational pull falls into this trap. Thus intrudes the idea of art that is \u201cinteresting\u201d \u2014 that word so un-useful to intuition and bound to the intellectual line. To call paintings \u201crelational\u201d makes them sound like verbs, without whose object (other paintings\/art history), their ability is gone. And is the idea of the artist\u2019s \u201ccleverness\u201d with the materials he finds to be a segue from disliking to liking his work? What of Wang\u2019s paintings apparently being effective as a group, collective, but not individual? Perhaps, in the current context, they become an acquired taste mainly on the basis of the correspondences and canninessamongst them and in the midst of art history \u2014 an idea that seems to separate an acquired from an intuitive taste for something, or some-art. If a taste for Wang Xingwei\u2019s work is an acquired one, but how has it been acquired \u2014 along which tracks? What does one ask of art, and what is driving what people \u201clike\u201d now in terms of the Chinese art scene?<\/p>\n\n\n\n

In 2010, Peter Schjeldahl opened a lecture by asking \u201cCan we talk sensibly about what we like about art?\u201d What is suggested or agued here relative to Wang Xingwei\u2019s work is not necessarily acceptable; perhaps these questions are being taken too far (or not far enough), and exposed for their impossibility \u2014 or circularity. There\u2019s the rub.<\/p>\n\n\n\n

(1) Clement Greenberg, untitled essay in Partisan Review, Volume XLVII Number 1 (1981).<\/p>\n\n\n\n

(2) Idem.<\/p>\n\n\n\n

(3) Various readers, \u201cQuestions for Peter Schjeldahl\u201d, New Yorker, February 16, 2009.<\/p>\n\n\n\n

(4) Peter Goldie \u201cOysters and Opera: How to Acquire an \u2018Acquired Taste\u2019\u201d(lecture, the University of Auckland, New Zealand, September 21, 2010).<\/p>\n\n\n\n

(5) LEAP magazine interview with Wang Xingwei (no date), accessed June 19, 2013.  http:\/\/vimeo.com\/26714891.<\/p>\n\n\n\n

(6) Zhang Li, \u201cWang Xingwei: True or False\u201d, LEAP, August 8, 2011, 129.<\/p>\n","protected":false},"excerpt":{"rendered":"

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