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Tan Ping

A Medium and Its External Features — Further Thoughts on Tan Ping’s Art: Yi Ying

Random effects in painting and print-making are quite different. Both are connected with the unconscious, but in painting the random traces we see are left by execution of bodily movements; in print-making, such traces are generated as “procedural errors” in the production process. What is more, these effects result from the medium itself. The medium has no independent significance to begin with. In traditional art, the medium is simply the basic requisite for representing the subject matter. The medium determines how form is to be executed, and form constitutes representation. The medium rarely has a direct function in representation. As for Tan Ping’s artworks, they take the medium as their language, setting up a connection between medium and spirit.
a process becomes a record of spirit and will, expressed through the elemental quality of a medium.
Yi Ying

Effects produced by the medium are decided by the medium’s properties and by the person who acts upon the medium. The return to medium is a historical process of modern art, proceeding from the separation of form and image, then to expression of pure form, and then to independence of the medium. Independence of medium saw its first breakthrough in traditional, two-dimensional art, and in contemporary art it has become an ordinary phenomenon, though people may not be sufficiently aware of it. The medium decides form, but at the same time the medium breaks down form. That is to say, if one comes to know the artwork by way of medium as language, one tends to exclude image and form, being more concerned with the effect produced in the medium through operation of a certain force. In general, shapes are created in etchings by lines; an imitative effect is produced by dense arrangements of lines. If the aim is not imitative, then free arrangements or combinations of lines can produce expressionist or abstract effects, conveying spiritual intensity. Tan Ping’s etchings are composed of just one line—a slender, refined line, not constituting an image or shape (form); it is a trace of the medium. Likewise, Tan Ping’s woodcuts only have relations of black with white. In the printing process, particles** exert a random effect which enlivens the black-and-white relations. For this kind of artwork, the key explanation points to limits of form or transcendence of form. There is a continuum from representation to abstraction, and then from abstraction to working with limits. Working with limits is not a matter of form, and it allows the medium to be expressed directly. The thought-progression in modernism has followed a course leading to post-modernism. Medium is presented by means of form, yet the meaning is not found in form; instead, it lies in the relation between person and medium; it lies in the process of a person acting upon the medium; it results from straightforward presentation of the medium’s properties. From image to abstraction, picture formats have a decisive function, and identical or similar formats can even be realized in different media. As for medium-based expression, which does not take the picture format as goal, there is no way to judge or predict its result. In fact, this is the advantage of medium. As we see in Tan Ping’s artworks, there is no way to analyze them according to pre-established picture formats. The exclusion of picture formats is something that Tan Ping has sought painstakingly. Tan Ping has a suite of pared-down paintings with only a single color on each of the large canvases, looking much like minimalist pieces, inasmuch as minimalism is also a product of medium. Tan Ping does not work with an original medium, but he fully exploits the irreproducibility and non-interchangeability of medium-based expression to create a form that is not like any other form of modern art. He repeatedly brushes pigment onto a large canvas; each application is an overlay of the previous application, giving a superficial impression of being a minimalist monochrome. However, each layer lets lower layers show through in a veiled manner. Such an artwork does not call for perusal of the visual surface; rather, the artwork is a process of overlay—a process becomes a record of spirit and will, expressed through the elemental quality of a medium.

Tan Ping’s piece “+40” deals with limits using the simplest materials and technique, by action of his body upon the medium to produce the simplest traces. If we say that lines in brass etchings are rational and artisanal, then the woodcut line is physical and primitive. It extends itself within an expansive space, with what Michael Fried calls “theatricality.” It is not a presentational experience which can be taken in at a glance; instead, it is a discursive experience which plays out along the trace. The discursive realization of “+40” does not gravitate toward an ultimate visual effect. External features of the medium are signs referring to life-force. Although the surface features are simple, they feelings they convey are not casual. He does not pursue an attractive effect, and he does not seek understanding from viewers, particularly understanding of painterly qualities. In comparison with his other works, “+40” puts more emphasis on the function of medium. When a person’s body acts upon the medium, the medium must possess properties that can interact with the body, so that the body’s language will be lodged within the medium’s external features. Being a surface indication of life-force, the medium is not a literary, poetic figment; instead, it is a locus registering creative pressure. The limits of minimalism, in themselves, are not the aim, and concept is not a result that subsumes the visual. In the medium’s traces, his intention is to explore non-traditional expression. Just when we believed that imagistic language and abstract resources were facing a crisis, we find that a previously traditional medium can still create new expressive treatments. The materials, tools and execution are all primitive, or one could say they are traditional, just as people are shaped by tradition. Expression through the medium itself is a contemporary mode. Thus, Tan Ping’s medium is a return—a return to inherent properties and even to the underlying nature of life, because it is a primitive medium acted upon by a body. If we understand life as creative power, then challenging the limits of a medium is also challenging the limits of creativity.

In a certain sense, external features of the medium are also external features of the body: they are new objective facts shaped by unconscious actions of the body upon the medium. This is what we see in Tan Ping’s sketches. Tan Ping’s sketches are abstract; they are pared-down abstractions, but they are not encapsulations or simplifications based on objective form. They are traces of the body’s unconscious movements left on paper by a charcoal pencil. Modernist painting emphasizes the unconscious function of line—it is a historical, cultural, personal configuration built up in the unconscious mind, reflected by a line made non-purposively. Tan Ping’s line of course has these properties; the difference is that his line is independent. In modernism the line is usually used to create shapes or configurations. Tan Ping’s line does not express any subject—it is a result produced by direct action of his body upon the medium. Dense arrangements of lines or single divagations may resemble varying existential states of life. If this medium were to be exchanged for another, there would probably be no such effect. He fully utilizes both the obduracy and fluidity of the medium; he lets the medium do the talking—of course this is a mutual action of body and medium on each other. It seems likely that there is another possibility, namely, that Tan Ping possesses a special touch—both with hand and heart—that others cannot match. Thus his impulsive line comes out with better expressive quality than that of others. His line enters directly into his inner life and by virtue of the medium’s function, his line is more compelling. It is possible that both the former and latter statements are true.

Translated by Denis Mair

1960 
Born in Chengde
1984 
Graduated from the Printmaking Department, Central Academy of Fine Arts (CAFA), Beijing
1984 - 89 
Lecturer, Printmaking Dept., CAFA
1989 - 94 
Won the West German Cultural Exchange Scholarship Deutschen Akademischen Austauschdienste (DAAD)  Master of Arts and Degree of 'Meisterschule', Free Art Department, Berlin Art University
1994 
Lecturer, Design Department, CAFA
1999 
Director of the Design Department, CAFA
2003 
Deputy Chancellor, Professor, CAFA   
 

Solo Exhibitions 

2013
Murmurs, Tan Ping Solo Exhibition, Meilidao International Art Institution, Beijing
2012
Line, National Art Museum of China (NAMOC), Beijing
2010 
Tan Ping at 50, Red Gate Gallery
2009 
Tan Ping Art, Yun Gallery, Beijing
2008 
Tan Ping Art, Shenzhen Art Museum, Shenzhen  
Tan Ping Art, Today Art Museum, Beijing  
Tan Ping Art, Lin & Keng Gallery, Beijing
2007 
Tan Ping Art, Studio Rouge Gallery, Shanghai
2005 
Tan Ping Art, NAMOC  
Tan Ping Art, Red Gate Gallery
2004 
New Woodcuts, Alexander Ochs Gallery, Berlin
2003 
New Woodcuts, Red Gate Gallery
2000 
Black / White Time, Red Gate Gallery  
New Etchings,
Asian Fine Arts Warehouse, Berlin
1999 
Recent Etchings, Red Gate Gallery  
Black / White World Tan Ping Etching, Asian Fine Arts Warehouse, Berlin
1998 
New Etchings, Red Gate Gallery
1997 
Recent Etchings, Red Gate Gallery
1996 
Recent Etchings, Red Gate Gallery
1995 
Introducing Tan Ping, Red Gate Gallery
1994 
Christof Weber Gallery, Berlin 
Beijing Contemporary Art Gallery
1993
 Moench Gallery, Berlin
1991 
Moench Gallery, Berlin  
City Hall,
Germering Gallery, Munich   
 

Group Exhibitions 

2012 
Two Generations - 20 Years of Chinese Contemporary Art 2012 Australian Tour: City of Sydney Chinese New Year; Manning Regional Gallery; Damien Minton Gallery; University of Newcastle Gallery; Melbourne International Fine Arts (MiFA); Linton & Kay, Perth
2011 
20 Years – Two Generations of Artists at Red Gate, island6 Art Center, Shanghai  
20 Years – Two Generations of Artists at Red Gate, Red Gate Gallery
2010 
NAMOC, Beijing
2009 
ReGroup: New Opportunities in a New Climate, Red Gate Gallery
2008 
Museum of Far Eastern Antiquities, Stockholm  
Alexander Ochs Gallery, Berlin  
Red Gate Stars
, Red Gate Gallery  
NAMOC, Beijing
 
White Space Gallery, Beijing
2007 
Susanne Ottesen Gallery, Denmark 
Schreier Von Metternich Gallery,
Germany
Tan Ping and Li Lei, Danish Cultural Centre
2006 
Tan Ping Works, Today Art Museum  
To the Watchtower: Red Gate Gallery’s 15th Anniversary
2004 
Etchings, White Space, Beijing
2002 
Contemporary Chinese Printmaking, Red Gate Gallery
2001 
Square Studio, Shanghai Art Museum  
Clues to the Future – Red Gate Gallery’s 10th Anniversary  
Contemporary Chinese Works of Excellence,
Shanghai Arts Centre
1999 
Square Studio, Konrad Adenauer Foundation Center, Bonn  
Square Studio, Shenzhen Art Museum
1998 
Retake: A Selection Reviewing Red Gate Artists’ Signature Works, Red Gate Gallery 
1st Exhibition of Square Studio,
Gallery of the International Art Palace, Beijing
1997 
Three Printmakers from CAFA, Red Gate Gallery
1996 
Kunst Haus, Berlin  
Lufthansa Centre,
Frankfurt  
Red Gate Gallery 5th Anniversary  
Chinese Abstraction – Tan Ping
Ding Yi – Qin Yifeng in Conjunction with
Oblique Travelers
, Michael Wardell Gallery, Melbourne; Annandale Galleries, Sydney
Beijing – Berlin, German Embassy, Beijing
1995 
Making Their Mark – Works on Paper, Meridian Gallery, Melbourne; Wan Fung Art Gallery, Beijing
1994 
Christof Weber Gallery
1993 
Moench Gallery, Berlin
1992 
Christof Weber Gallery
1991 
Germering Gallery, Munich
1990 
9 - 9 Gallery, Berlin
1989 
Lommel Gallery, Leverkusen, Germany
1988 
European and Asian Culture and Art Centre, Paris
1985 
NAMOC, Beijing

My works have a strong narrative component; I am reluctant to call them abstract art. Traditional abstract art has emphasised the meaning of dot-line paintings, colour, composition, and the value of negative space. Whenever I paint a painting, there is a strong narrative, but this narrative could be perceived by others as a feeling. Without this emotion, my works would indeed be spiritless.

Tan Ping

 



 

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