Cui Xinming solo exhibition 'Just Arrived in This World' at Kiang Malingue

The First Art Newspaper on the Net    Established in 1996 Friday, June 14, 2024

Cui Xinming solo exhibition 'Just Arrived in This World' at Kiang Malingue
Cui Xinming, Genre Painting Study (Treasure Seeking), 2019. Oil on board, 29.8 x 24.9 cm.

HONG KONG.- Kiang Malingue is presenting on the twelfth floor of its Tin Wan studio space “Just Arrived in This World”, an exhibition of new paintings by Cui Xinming. The painter's fourth solo exhibition with the gallery features more than a dozen oil paintings on wood board and canvas, expanding themes and series developed in the exhibition “Differentiation” in 2018. The artist's sincere yet surreal depictions of everyday scenes with absurd elements respond to the profound impact on life by recent global and local crises.

Cui Xinming's early painting practice revolved around theatrical narratives by highlighting the contrast between thematic, fiery elements in crimson or faded red and glooming backgrounds that were frigid and sombre. Long-term series such as Black Hole of Memories from 2011 and Sleepwalker from 2013 are exemplary of the artist's intent to reflect psychological tension by building highly detailed architectural environments in which an isolated community is caught. For the exhibition “Differentiation” in 2018, Cui created a group of paintings organised in pairs, examining dichotomised relationships such as ancient—modern; exposed—concealed; lucid—chaotic, measuring the possibility of reconciling Chinese classical thought with western artistic traditions.

The paintings included in “Just Arrived in This World” crystallise the continued development of Cui Xinming's artistic language, and are representative of the accumulated yet ruptured life experience due to the outbreak of the global pandemic in 2019. Among the earliest works in the exhibition is the small-scale Genre Painting Study (Treasure Seeking) (2019) which captures and transforms a mundane and absurd sight — a hawker vending an alligator snapping turtle dug up from a construction site. For Cui, this fragment of reality that is at once common and complex brings together a variety of topics including commerce, land and environmental change, exotic animals, and different traditions of mysticism. This full-length portrait of the man, evocative of poised cavaliers in Dutch golden age portraits, demonstrates the use of “scratching and white-piercing" techniques in a painting process described by the artist to be akin to a type of "total casting" — fully integrating disparate compositional parts as if in one unifying stroke.

Using a variety of instruments, Cui Xinming's "scratching and white-piercing" techniques produce an amorphous white glow that radiates by scarring and bleeding into other objects and figures on canvas. Inspired by traditional Chinese painting's notion of white-spacing, this unique process reveals delicate textures and introduces into the paintings a sense of mysticism. The artist has also been exploring the materiality and texture of wood board as a painting surface, carefully priming each wood board about twenty times before starting the painting process, rendering it texturally suitable for his "scratching" brushwork. Genre Painting Study 13 (Smelting) (2021) is another painting on board that depicts an isolated individual at work, this time caught in a relationship with the environment that is more intense and aggressive: the masked man with a red, hot soldering iron in his hands scorches his environment. Based on an image of a gardener tending flowers and trees in a park, the painting deems great, uncontrollable global crises as the turning point from which a daily caring practice is transformed into a devastating act. Another pithy painting on wood board Portrait Study 11 (Pope) (2020) revisits the artistic tradition from Velázquez to Bacon, but totally erases the face of the sitter. It is instead focused on the strange, highlighted hair in place of the camauro worn by the pope. Cui thinks of hats and headwear alike as the index of an individual's social status and roles; by replacing a hat with wig-like hair, Cui renders the majestic scene absurd, inserting an element of banality that breaks the originally mystical atmosphere.

Larger works on canvas such as Genre Painting Study (Spring Outing 2) (2022) and the diptych Genre Painting Study (Junzi 1) (2023) both pertain to outings in perilous times. The human figures are seemingly relaxed, and, out of confusion and boredom, apathetically or intensely fixated on an abrupt white hollow on the ground. A signifier of absence, this flat, amorphous, paradoxical cavity Cui has repeatedly painted since 2015 stands for misplacement, hollowness, error and otherworldliness, leaking enigmatic, illuminated ooze onto the canvas. Reminiscent of and readily opposed to the Is it getting dark? series of paintings of interior spaces from 2010, It is almost dawn I (2021) and It is almost dawn II (2021) created long before the ending of the pandemic candidly express the artist's angst regarding the future, leaving the white hole beyond the highly textured, protective yet suffocating curtains: permeating could be the sunlight; not arriving yet could be the dawn.

Cui Xinming (b. 1986, Shandong province) currently lives and works in Chongqing. Known for rendering everyday scenes surreal, Cui in distinct series of highly textured paintings expresses the tumultuous thoughts and reflections of a Chinese generation that is living through a period of constant change. Recent solo exhibitions include: “Differentiation”, Edouard Malingue Gallery, Hong Kong (2018); “Festival”, Edouard Malingue Gallery, Shanghai (2016), and “Journey to the East”, Edouard Malingue Gallery, Hong Kong (2014). Recent group exhibitions include: “The Jolt of Image: New Paintings by Chinese Millennials”, Chengdu Art Museum, Chengdu (2022); “Sans Soleil”, Edouard Malingue Gallery, Shanghai (2019); “Tenth Anniversary Retrospective Exhibition of Luo Zhongli Scholarship”, Chongqing Art Museum, Chongqing (2015). Cui received the prestigious Luo Zhongli Scholarship in 2011.

Kiang Malingue
Cui Xinming: Just Arrived in This World
September 19th, 2023 - October 21st, 2023

Today's News

September 19, 2023

Provenance of a museum's Greek exhibit is questioned, fueling a debate

The McNay announces new exhibition and commission by renowned artist Alice Aycock

Eskenazi Museum of Art announces exhibition of Jeffrey A. Wolin's Photography

German photographer Kathrin Linkersdorff's debut solo exhibition 'Faries' now open at Yossi Milo

Sheida Soleimani's: Birds of Passage will be on view through first week in October at Denny Gallery

Catherine Opie 'Walls, Windows and Blood' at Thomas Dane Gallery in Naples

'Coming Home: The Transformative Gift of the Janet & William Ellery James Collection' at Cape Ann Museum

Fokus Gallery to present Hugo Simberg's photographs and art

Abstract expressionism, color field, and the natural environment sources of inspiration for Vivian Suter

'Shuvinai Ashoona: Looking Out, Looking In' being exhibited at Fort Gansevoort

'Akumulatory' by Marcin Dudek at IKOB takes viewers on journey through chapters and sites of artist's past

Italian Arte Povera artist Jannis Kounellis now on view at Cardi Gallery Milan

Cui Xinming solo exhibition 'Just Arrived in This World' at Kiang Malingue

A arte Invernizzi gallery welcomes opening of 'Orizzontaleverticale' by Nelio Sonego

Treasures from the Adolphe & Stocklet Collectons will be auctioned in October at Bonhams

Story of Alexander McQueen's Taxi Driver collection told in Design Museum exhibition

The notion of the individual within a collective experience explored by Gerasimos Floratos at Mitchell-Innes & Nash

'Sacred and Profane Geometries' by Ai Weiwei and Monir Shahroudy Farmanfarmaian at Haines Gallery

"Fire in the City: Artists in the Blitz" pop-up exhibition in Sir Christopher Wren's Square Mile Churches

Monique Meloche Gallery presents 'Sanford Biggers: Back to the Stars'

The Garment District Alliance partners with The Milliners Guild to present 'The Rose of Versailles'

Jann Wenner removed from Rock Hall board after interview

A theater troupe that's also a support network for exiles

Marley Grace Jones Discusses The Therapeutic Power of Singing: How Music Can Heal The Mind and Body

The Art of Being an Exceptional Host on HostRooster

Azam Khan Auctions Strategies to Boost Outcomes: Bidding Wars and Beyond

Football Betting for Beginners: A Comprehensive Step-by-Step Guide

Are There Any New Slot Features on the Market?

Unlocking the Power of AI-Driven Creativity with's Ultimate Suite

Delve into the World of Online Drawing

How the Best Call Center Software Helps Scale Up Business Growth

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Truck Accident Attorneys
Accident Attorneys

Royalville Communications, Inc
Founder's Site. Hommage
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful