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2019-10-31 11:25:56 来源:


  The artist Hu Xiangdong‘s new studio is located at the most popular village in Songzhuang, Xiaobao Village。 The two-storey white western-style building is self-designed by Hu Xiangdong。 Entering the large creative space, the first thing that comes into view is Hu Xiangdong’s new work in 2018。


  《大西红柿》 油彩   200x120cm   2016

  “LargeTomato”, oil paint 200×120cm 2016

  《我也要打一针》 油彩  200x120cm  2018

  “I want a shot too” oil paint, 200×120cm 2018


  The colorful colors like candy in the picture, the oversized vegetables and fruits, and the characters like those in the New Year paintings and the exaggerated facial expressions in his early works make the work filled with an absurd style and a strong irony。

  《你能给我想要的生活吗?》油彩  200x120cm  2018

  “Can you give me the kind of life I want?” oil paint 200×120cm 2018


  As is known, Hu Xiangdong is a representative of the domestic “Gaudy Art”。 He always has a keen thinking about social changes and human existence。 He hopes that art can not only achieve self-expression, but also be connected with this society。 In his early installation work “Ideal Planting”, the “cabbage” is one of the important achievements of “Gaudy Art”, which left a deep impression on the public。 Hu Xiangdong has been making artistic practice for many years and constantly searching for media that can accurately express his own ideas。 He is very interested in new technology materials, and has work forms such as shelves, sculptures, installations, etc。。 His 。 artistic practice has always been valued by the art circle in the past few years。 Recently, Hu Xiangdong, who has been an oil painter, has a strong complex of oil painting, and a new artistic exploration has returned to the shelf。

  《土豆高尔夫》 油彩  200x120cm  2016

  “Potato Golf” oil paint  200×120cm 2016

  《这个怎么吃?》 油彩  200x120cm  2018

  “How do I eat this?” oil paint 200×120cm 2018

  《肥水不流外人田》 油彩  200x120cm  2018

  “Rich water should not be let out of one’s own fields” oil paint, 200×120cm 2018


  Artist Hu Xiangdong accepted an interview with Zheng Xiaotong, the reporter of Sina Contemporary and Sculpture Channel:


  Sina Contemporary: You are a representative of the domestic Kitsch Art。 Then, you have kept on trying different media which can express your various concepts。 Your works include those presented on shelves, sculptures, installations。 Do you have any new art projects recently?


  Hu Xiangdong: I started creating kitsch works in 1995。 My first exhibition was called “Kitsch Life。” It was organized in 1996。 At that time, several “Old Summer Palace” artists discussed together and came up with a theme called “Vulgar Art。” Later, it was changed to “Kitsch Life。” Its formal positioning was in 1999 at the Tianjin Taida Art Museum。 We chose the theme “Kitsch,” considering the social background at that time。 After China’s adoption of the reform and opening-up policy, Chinese had a higher pursuit of material and spiritual enjoyment。 Their aesthetic taste was also upgraded。 We Kitsch artists all thought it was very interesting。 Based on the theme, a series of works was created by us。 In response to the public aesthetic taste, we imitated and satirized about the vulgar taste。 Most of these works were presented on shelves in the very beginning。 Later, with deepening of our art creations, we found artworks on shelves alone were inadequate。 Therefore, I started to think about new materials。 I have the oil painting learning background, so I am very familiar with materials and techniques of oil painting。 At that time, I was accustomed to using methods and materials which I was familiar with to create artworks。 Later, I found this was inadequate。 Some themes might be limited after putting on paintings。 Then, we had to make conversions。 In the very beginning, we tried new expression forms and new materials, but these new materials and expression forms were after all new tries。 I must abandon techniques which I was familiar with in the past, and introduce things that were seldom found in paintings。 The “things” here actually refer to vulgar things, which are out of the mainstream。 For example, I introduced carrots and Chinese cabbages to my paintings, and enlarged them。 After this expansion of themes, our art was deviated from the confinement to elites to be accessible to the public。 I created these works not according to methods familiar to me, but according to concepts I attempted to express。 Such paintings are not paintings in the traditional sense。 They are the so-called conceptual paintings。

  “ 艳俗艺术”浮出水面后,引起了各种反向和争议,它的影响力一直到今天,它属于90年代当代艺术重要现象。

  After the emergence of “Kitsch Art,” there have been many opponents and controversies。 However, its influence has been lasted to this date, though it was an important phenomenon of contemporary art in the 1990s。





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