孙 欣
SUN XIN
...Artist...Art Critic...
<Historicality of Contemporariness: Based on the Contemporary Art Exhibitions in London> published in ART OBSERVATION, issue281(19.1), P85-89
Abstract:What is contemporary art? Is there any quality that could be the essential criterion of the contemporary of art within different era and generation? What about the“now”? This paper taking the phenomenon of contemporary art exhibitions of London in 2018 as source, try to reveal the latent dialectic of history and contemporary within the context of Phenomenological Existentialism of Martin Heidegger, especially his theory on temporality and historicality in Being and Time. The analysis consists of three parts: the representation of history in contemporary arena, the relationship of present, contemporary and history, the way that contemporary becomes history, so as to define the contemporality of art from perspective of historicality.
<The Flowing Spectacle: History of Visual Representation of Cloud> published in NATIONAL ART MUSEUM OF CHINA, issue133
Abstract: The article analyses the cloud images in art history and visual representation within multiple cultures and extent time span from three perspectives: iconography, visual formula and art practice, trying to present an encyclopedia of cloud visual culture, within which, the relation of nature and human inner world being and emerging. This concise writing could be an abstract of a substantial book.
<Differentiation and Similarity: Space and Time in Classical Landscape of West and East>，Paper Presentation in "Time, Space and Self" International Conference，London Center for Interdisciplinary Research，London，UK.2018.7
Abstract: The theme of the article is to compare the pattern of European classical landscape oil painting and Chinese traditional “mountain and water” ink painting, analyzing varied representation of space and time, so as to reveal the inherent cultural genes of Europe and China, or West and East, and their implicit influence to individual’s psychological perception and visual thinking. The analysis is based on two pieces of works: The Hay Wain of John Constable (18-19th century, British) and Early Spring of Guo Xi (11th century, China). In the first part, analyzing the representation of space in the paintings, I compare the two kinds of perspective models——Focus Perspective and Shifting Perspective (San Yuan Fa), and characterize them as Instant View and Memory Sight. In the second part, I analyze the representation of time in landscape. I compare the two patterns of expression of time, and differentiate them as Freeze-Frame and Panorama. In the third part, I compare the mode of existence of Self-subject within the different spatiality and temporality conception represented in landscape paintings of West and East. In conclusion, the visual patterns of space and time in classical landscape reflect the cultural evolution. Comparative image analyses gradually lead to the macroscopic cultural differentiation and its inter-wine with microscopic Self-subject’s similarity.
2015 < Strategy of Contemporary Art Collection and Exhibition of Museums in New York Area> published in NATIONAL ART MUSEUM OF CHINA, issue120, P63-67.
Abstract: The paper analyzes strategy of contemporary art collection and exhibition of museums based on the investigation of representative museums in New York area. Presenting the panorama of modern art museums since the early of 20th century, the paper highlight the museums function adjusted with challenge and opportunity from contemporary art scene.
2014 <Cross-Section of Art in America 2013-14 —— An Inevitable Misinterpretation>,Unpublished.
Abstract:The paper is based on my one year investigation of American contemporary art in NYC as a visiting scholar.From the study of the theoritical meaning of "Contemporary", and the phenomenon ofthe prosperous exhibitions and art fair,I try to reveal the logic and essence of contemporary art in the center of the art world. Impossible? While, at least that is from a personal perspective.
2012 <Existence of Cloud>, published in ARTWEEKLY, 2012.1 (Full context reading avelible)
2012<Four Methodologies of Western Art Theory in Twenty Century >published in ART (the central art Journal of China)2011.3, P117-123.
2009 <Body in Psycho Aspect: Austrian Contemporary art>published in ART(the central art magazine of China)，2009.12.
2009 <Multidimensional Construction: The Art Exhibition System of Vienna> published in ART OBSERVE (the central art Journal of China), 2009.3, P133-136.
2008 <The Contemporarity of Chinese Contemporary Art>
2011 <Klimt’s Art Study>, Capital Normal University Publishing, ISBN: 987-7-5656-0436-2.