重叠房梁 2016

Editor: This is "Stacked Rafters" by Wang Xinfu, from 2016. It appears to be oil paint, maybe with mixed media too. The painting's incredibly textured, almost like you could feel the dampness of the alley it depicts. What's your read on this work? Curator: I'm struck by the sense of history embedded in this piece. Look at how the artist uses a seemingly realist style, yet focuses on a derelict urban space. What does this choice communicate? Is it about forgotten corners of the city, the places modernization leaves behind? Editor: It definitely feels like a forgotten place. I almost feel a sense of unease looking at it, as if I’m not supposed to be there. Do you think this unease is intentional, or maybe a commentary on urban development? Curator: It's highly likely intentional. Realism, particularly when applied to scenes of decay, can be a powerful form of social commentary. The public role of art often involves drawing attention to uncomfortable truths or neglected realities. The way he depicts this liminal space between building and sky, order and chaos—how does that speak to the politics of imagery, to who is seen and who is not? Editor: So it is sort of forcing us to acknowledge what’s typically unseen, which then becomes a form of critique, or perhaps activism even. Is it common to see realism used this way in contemporary Chinese art? Curator: Yes, there is a strong tradition of realist painting used to depict social realities. This kind of urban landscape, rendered with such tactile intensity, positions the viewer as a witness to societal shifts and perhaps even to the consequences of rapid urbanization. Editor: I never considered how a seemingly straightforward style could be used to make such a strong statement. Thanks! I am leaving here thinking a lot. Curator: A pleasure. This interplay between art and social commentary makes these urban spaces so important for discussion, so the pleasure is mine.