2011 Installation:
Notations of Time-Incertain Being>>

Notations of Time-A Place without Whence or Whither>>


2010 Solo Show:Notations of Time>>

2009 Solo Show:The Making of 1963>>



Art Works & Artist's Review
Notations of Time Series>

Water Series>
 
Water, 2008
Water Print
Collection at V&A Museum,UK


Faramita>

Fish in Water>

Butterfly>


Lotus
>

24 Solar Terms >

TradeWind>


Antique Objects>

Ming Dynasty Furnishes Series>
   
 
Musical Instruments Series>
Chen Qi's art is both traditional and modern, manifesting conceptuality and a modern aesthetic sensibility in the search for the roots of cultural traditions. He uses traditional water-based printmaking to depict ancient Chinese furniture and musical instruments. This deft combination is a reflection of the artist's wisdom.

The Chinese ancient musical instrument is a work of art in itself. In Chen Qi's work, a zither or a bamboo flute is laid down against a white backdrop (space), seeming to resonate more than music. With his superb printmaking skills, Chen Qi has captured the form and spirit of ancient musical instruments, making the art piece as beautiful as the instrument itself.
-Collection Notes, National Art Museum of China

 

Contemporary Artist: Chen Qi(1963~)
Professor of Central Academy of Fine Arts,
Member of Chinese Artists Association.

Education:
1987 BA in Drawing, NanJing Institute of Fine Art;
2006 PhD in Fine Art, NanJing Institute of Fine Art.


2013
Notations of Time: Chen Qi Art Exhibition, National Museum of China. >

2012
Chen Qi Art Tour:
Merit Award, the 5th China Beijing International Art Biennale,China National
Museum, 2012.
Diamond Leaves: Artist Books from around the World, Central Academy of Fine Arts Museum, Curators: Xu Bing, Marshall Weber
.
New Year Fine Art Festival, Shin Kong Place,Beijing.

2012 SH Contemporary, Shang Hai Exhibition Center.
ArtStage Singapore;
Art Taipei 2012.

2011 Chen Qi Art Tour:
Shen Zhen International Printmaking Art Biennale;
Multiple Impression- Contemporary Chinese Woodblock Print, University of Michigan Museum of Art;
ShContemporary, Hotspot section:New Ink;
Zen Encounters in Art-Chen Qi & Yang Maoyuan, Amelie Gallery.


2010 Chen Qi Art Tour:
Three Dimensional China exhibition, Exhibition of Thessaloniki International Book Fair, Greece, artists include: Sui Jianguo, Xu lei, Leng Jun, Chen Qi etc.;
Being, GuanShanYue Museum;
Art Beijing 2010 Expo.



2009 Chen Qi Art Tour>
Frankfurt Book Fair: Revival of Tradition;
World Trip of Chinese Art, Vienna;
ShContemporary 09, China;
Art Beijing-Fine Art Fair

Solo Exhibitions:
1992
JiangSu Art Museum;
1993
National Art Museum of China;
2006
FengDanYuLu Museum, NanJing;
2007
Workshop in Victoria & Albert Museum, London, UK;
2008
Oriental Museum, Durham, UK.
2009
1963, the Making of Water, Amelie Gallery Beijing.
2010
Notation of Time, Amelie Gallery Beijing.
2013
Notations of Time: Chen Qi Art Exhibition, National Museum of China. Organized by the Central Academy of Fine Arts, China Artists Association, National Museum of China, China National Academy of Painting.

Awards:
Merit & Copper Award of the 7th, 8th, 9th National Art Exhibitions;
Golden Award of the 13th China Print Art Exhibition;
LuXun Printmaker Award by Chinese Artists Association etc.

Collections:
China National Art Museum, British Museum, Victoria & Albert Museum, ShangHai Museum, GuangDong Museum, Sotheby's Institute of Art in London, Ashmolean Museum in Oxford, New York Public Library, Fukuoka Asian Art Museum, European Woodcut Foundation, Uli Sigg Collection etc.

Curator's Review
Beginning in the '85 New Wave, Chen Qi bravely transformed and moved beyond modernism, incorporating the lighting ideas of Western paintings and expanding water-based printing beyond its original limitation to Chinese ink painting and modernist aesthetics. He explored water-based printing's contemporary expressive abilities through independent artistic language. His printing process dampens the limitations of the original draft and makes use of the artist's subjective consciousness in the process of creation. The flow of consciousness is conveyed through the improvisational spirit and the free-moving marks. Especially praiseworthy is his attention to the conceptuality that arises from the creative methodology of water-based printing as a component of cultural heritage, entering into contemporary experimentation that transcends aesthetics. - Tony Chang

Artworks Introduction:
Water Series: Chen Qi's expressions of water are quite risky and daring. There is no normal visual center in the picture, just the undulation of the ripples rendered in light and dark. But this really is water, the water we see, drink and wash with every day, the waters of the North Sea in Chuang Tzu's Aimless Wandering, the water that Confucius sighed about when he faced the river, the water that in ancient Greek philosophy could never be stepped in twice. It has no set appearance. In nature, water is both the most abstract and the most concrete material. It is, in and of itself, a metaphor for change, and a metaphor for time. Time passes swiftly like flowing water. What flows in this work is the mark of time.

Flames of Consciousness in Material Details: Lotus Series
Completely discarding with the Chinese painting traditions regarding the atmosphere and implications of lotus flowers, he presented a different kind of pure mindscape. The opening or wilting of each flower, its blooming or closing, is a visualization of the mental realm. In Buddhism, when those on the path of cultivation look inwards on themselves, they imagine a lotus flower unfolding from the area around the navel, and light emitting from it. Each flower in the Lotus series is like a lamp from the depths of the heart, and their "internal light" is the clean, pure spiritual quality of the Lotus series. It transcends specific materiality and becomes a pure mindscape.

Carving Time
24 Solar Terms:
Those landscapes are fragments of the river of time, like occasional scans from along the journey of life. Looking at those images, it is as if we stand beyond time, listening quietly to the sounds of its flow. I have come to realize that this is Chen Qi's awakening to time in space.

Chen Qi's sensitivity to time is conveyed in his understanding of the "solar terms". These "solar terms" are the markers of changing seasons in China's lunar calendar, the ancients' summing up of the order of climate and time, based entirely on changes observed in nature. In 24 Solar Terms, Chen Qi turns the "solar terms" into a viewpoint on time, conveying the most apparent iterations of seasonal moments that appear in his field of vision.These landscapes exude a tranquil atmosphere, giving the pictures a distant, faint sense of emotion. This is an Eastern-style "quiet observation". What he sees are the silent, invisible changes taking place in the world, the sound of time flowing within the changing of the seasons.

-Wang Fang (Vice Dean of the Nanjing Academy of Art Media College), excerpted from Carving in Time.