In Wei Jiujie’s artistic belief, painting is an “anti-knowledge” and “anti-ordered” thinking method, instead of searching for an “orthodox” model of value in the existing schematic structure and image mode. This cognitive experience enthusiastic on “question” and “deconstruction” obviously comes from his “self-consciousness”, the strength and courage to look for the “criticalness” in the Western knowledge pedigree after Enlightenment philosophy, instead of searching for the transcendental spiritual feelings in the traditional poetics and painting values. Wei Jiujie considers the “absurdity” as a kind of “intellective rational awareness”. Or many people also think that the “erotica” and “eeriness” in his paintings paid too much emphasis on the visual expressive force, but neglected the “obscurity” in its language, which led to the direct and specific difficulties for the audience to understand the meaning of the works. Wei Jiujie attributes his creative inspiration and intellectual experience to his reading of Hume, Kant and Huxley in the recent years. These experiences made him realize that he was hard to be satisfied by the aesthetic and intellectual mode of Chinese traditional painting any more. There is an inherent “treachery” and “jocosity” interacting here together. As what Hume said, people may rely on some certain feeling to behave but it’s hard to say that there was any fixed thinking and sense, it’s also hard to say that Wei Jiujie had any serious knowledge experience in this kind of thinking dimension, but definitely that “questioning” became a kind of form and conceptual self-presetting and self-identity, while “absurdness” became the visual appearance of “questioning”. With a cynical attitude, Wei Jiujie is trying to describe a fable beyond the realistic life.
In actual fact, “Male- Female” exhibition’s subject is the possibilities of contemporary ink art. What makes it “contemporary”? What are its means of expression? What are its subject matters? Where is its rightful place in the vast array of today’s Chinese and world art? The exhibition is conceived as a meeting of two important contemporary ink artists. It intends neither to confront nor provoke a dialogue. It is sounding out the possibilities of contemporary ink painting from a female and male perspective.
——Curator Michael Kahn-Ackermann