Li di
Li di
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Born in Yakeshi City, Inner Mongolia in 1963, his ancestral home is Weifang, Shandong Province. In 1982, he entered the oil painting department of the Central Academy of fine arts for a bachelor's degree. In 1985, he won the first prize of oil painting works of the Central Academy of fine arts, and the silver award of "advancing Chinese Youth Art Exhibition". In 1986, he graduated from the oil painting department of the Central Academy of fine arts and stayed in the school to teach. In 1990, he went to Braunschweig Academy of Fine Arts in Germany to study, In 1995, he graduated from the Liberal Arts Department of Braunschweig Academy of Fine Arts in Germany, with master's degree and master's degree in German arts. Now he lives and works in Beijing.
Profile
Born in Yakeshi, Inner Mongolia in 1963, his ancestral home is Weifang, Shandong Province. He entered the oil painting department of the Central Academy of Fine Arts in 1982. He won the first prize of oil painting works of the Central Academy of Fine Arts in 1985 and the silver award of "advancing Chinese Youth Art Exhibition" in 1986. He graduated from the oil painting department of the Central Academy of fine arts and stayed in school to teach. In 1990, he went to Braunschweig Academy of Fine Arts in Germany to study, in 1995, he graduated from the Liberal Arts Department of Braunschweig Academy of Fine Arts in Germany, and received a master's degree and master's degree in German arts. < br > now he lives and works in Beijing
Major exhibitions
2015
Beijing white box art museum, Beijing Yuandian Art Museum
China post-60s art exhibition,
Beijing colorful contemporary art museum in 2014
Art Harbin "Chinese Contemporary Art Exhibition"
two thousand and fourteen
International concrete exhibition and abstract exhibition,
Ningbo Cultural Museum, Meilun Art Museum, Changsha, Hunan, 2013
Shanghai Biennale "re generating electricity · the way home"
Joint exhibition of famous Chinese artists,
Stanez Museum of art, Paris, France
two thousand and thirteen
Marseille, France, European cultural capital year · Liddy
/
Cai Qing's Works Exhibition
Chinese Contemporary Art Tour in Eastern Europe
National Museum of sculpture, Croatia, National Museum of art, Sarajevo, BIH
Zero boundary
/
The first biennial of installation art in China
Beijing Museum of Contemporary Art / Tianjin Art Museum
Drifting Art Academy
Shangshang Art Museum, Beijing, 2012
Painting·
two thousand and twelve
The power of turning
Contemporary art exhibition, 49 Gallery, Beijing
Borrowing scenery
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Li Di's solo exhibition
Beijing in 3 galleries
Box
Li·
Box
Outside——
Width 5
Contemporary Art
exhibition
Beijing Museum of Contemporary Art
The first Xinjiang Contemporary Art Biennial
Urumqi Exhibition Center, Xinjiang
Heart rises
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Li Di's Painting Exhibition
Ningbo Art Museum
fusion
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Innovation
——Painting exhibition of returned overseas artists, World Art Museum of China Millennium Monument, Beijing
Chinese performance
2012 oil painting invitational exhibition, Wuxi Phoenix Art Museum, 2011
Chinese style writing
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Contemporary Art Exhibition
Beijing Today Art Museum
Running in the heart
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Report exhibition of Li Di's return to China in the past 20 years
Beijing Today Art Museum 2006
draw
(installation), longmbinger Abbey, Germany, 1995
Human image
Art Gallery, Hanover, Germany, 1994
Art
!
Friedrich Ebert foundation Museum of art, Bonn, Germany, 1989
China Performance Art Exhibition
”Beijing Museum of Chinese history, 1986
The second Asian Art Exhibition
”, Fukuoka Museum of art, Japan < br > 1985
Chinese Youth Art Exhibition in progress
”
(the work won the silver award and was collected by the China Art Museum), China Art Museum, Beijing
Art review
Wu Hong: ten years of "Hedong" and twenty years of "Hexi"
Li Di asked me to write an article about his exhibition. After I agreed, the first question in my mind was "what is art for?" ——This sentence pattern of classical Chinese, if used in modern Chinese, is actually two questions: first, what is "art"? 2、 What can art do? It must be inappropriate to apply such a grand proposition to the works of a particular artist. However, after reviewing Li Di's artistic experience, I find that only this proposition can be used as a clue to enter his artistic world and his heart I've always wanted to have some set questions, but in fact, these questions can't have answers, because time won't repeat and history can't be repeated. But even so, it can not be said that these questions are meaningless. Question 1: if Li Di has been following the style of his famous works, will he go abroad? Question 2: if Li Di had returned to China in the tide of returnees ten years ago, what would be the outcome? Let's follow the clue of "question 1". It's not an accident that Li Di won the prize for his work "years of thinking" in 1985 when he participated in the "moving Chinese Youth Art Exhibition". Sponsored by the International Youth China Organizing Committee, the "China Youth Art Exhibition in progress" opened in May 1985, with 572 works on display. This exhibition is actually an activity related to the "year of peace" of the United Nations. It is precisely because it is different from the artistic pattern of the theme of the national art exhibition. Therefore, in this exhibition, there are many works of certain value in the exploration of artistic language, and even some critics believe that it is a symbolic activity to open the prelude to the 85 new trend. Li Di himself may not be aware of the communication effect of the work "the time of thinking" after participating in the exhibition and winning the prize, and its subsequent impact on the Chinese art world. Gao Minglu later wrote a brief history of modern painting in which he compared the differences between Li Di's and Meng Luding's works and the scar art represented by the 81 graduates of Sichuan Academy of Fine Arts in the same period: "they tried to surpass the expressive power of the painting language itself, and disdained to simulate a certain plot.". In fact, what Gao Minglu is trying to make clear here is that a sign of some works in this exhibition is "consciousness of artistic language". The consciousness of artistic language is also one of the most prominent features of the '85 new trend art movement. The flat and decorative realistic oil painting style embodied in Li Di's "the time of thinking" can be accepted by all sides, and many people even began to imitate it at that time. This is obviously a sunny path, especially for a young graduate. After Li Di gave up this painting style, his teachers at the Central Academy of fine arts lamented. Obviously, if Li Di followed this style of painting, he would be a respected teacher on campus, and he would certainly take a casual position as the director of the "Art Committee" in the official art association level organization, so as to reflect his academic authority. Going abroad is a "maybe" thing, maybe "going abroad for investigation", "academic exchange" and so on, but I will never go abroad to be a student in an Academy of fine arts. The clue of "question 2" is that around 2000, there was a wave of returnees returning from abroad. Naturally, there were many people in the art circle in these waves. At that time, because of the enrollment expansion of domestic universities, there was an urgent need for art education teachers, especially those who had received education abroad. This was the reason why many people came back. It is said that the foreign language in foreign countries has also been taken, and the vision has also been broadened. It should be an ideal choice to come back to find a university professor position. Li Di did not follow this trend for his own reasons, but I think his question of "whether to go back to China" is actually the same as his question of "whether to go abroad" in those years, which runs through a proposition of "what is art for?". the topic goes back to the linear logic of time. During the period around 1989, Li Di completely gave up the artistic style of the famous work that once brought him a lot of glory. He has become an advocate and practitioner of expressive painting. At this time, engaged in the performance of painting practice, already need to experience the loneliness and adventure. Here, we need to return the time sequence to the historical stage at the beginning of the new fashion art. Like any historical revolution, in the early stage of the revolution, forces of various backgrounds and purposes can gather together on the ground of opposing the previous authority. The situation at the beginning of the new trend art is the same. As long as the style is different from the continuation of the Cultural Revolution art, it can be called "new trend". In fact, under the "new trend", there are revolutionary, reformed, improved, different artistic views. Therefore, it is also normal for such a division of loose ties to occur in the late period of the new trend. When Li Di is gradually becoming an "expressionist", the situation in the domestic art world where he lives has quietly changed. As we have said before, if Li Di follows the artistic style like "the years of thinking", he can retire to the college at this time. With the growth of his age, he can become a "new academic" academic authority in the aesthetic taste of the college. In fact, during that period, some people were gradually using their "new academic" identity to open up the distance between them and the wild people. On the other hand, the real "new trends" who are trying to "connect" with the post-modern art in foreign countries have gradually recognized the reformism that they mixed with earlier
Chinese PinYin : Li Di
Li di
