The complete collection of the communication value of "Local" hosted by Chen Danqing

The complete collection of the communication value of "Local" hosted by Chen Danqing

The complete collection of the communication value of "Local" hosted by Chen Danqing

Table of contents

Preface to History

Preface 2: Passionate Li Jing

A Thousand Miles of Rivers and Mountains

The Triumph of Death

Victory of the people

First works

Paris Youth

Who supports artists?

Indulgence in painting

Informal charm

Valadon and his son

Female painters in the Republic of China

Xu Yang's Merits

Message and Scene

Russian injustice

Monastery of San Marco

Battle of the Giants

Duchamp's Decision

Let’s go and see Chen Danqing and Wei Xi

Local distant meaning Qingyuan

Strange Experience (Postscript) Chen Danqing

Preface to History

If there is a video program called "Local" that is passed around and broadcasted episode by episode, what is the purpose?

It shouldn't be about putting together a puzzle or forming a whole.

Wholeness is often an illusion.

When we hold the history of art or literature in our hands, we are merely holding the nicknames given to that period of history by the authors, or facing the seven wonders in miniature or the Great Wall carved out of carrots.

The whole is often not as trustworthy as the parts.

In part, it's just a bunch of drifting bottles, containing the parties' insights, praises and sighs, which he threw into the sea one by one. He believed that the sea was not just the sea. There were ships in the sea, people on the ships, and people on the other side of the sea as well. Some people will pick up the bottle and take a look at it, and may feel approval or surprise. The familiarity or strangeness felt at that moment is worthy of that part.

Because, neither familiarity nor strangeness is numbness.

Brother Danqing did something like this recently, something that makes people unable to remain numb.

I have read the sixteenth issue of "Local" several times. For several episodes, I deliberately turned down the screen to the minimum or closed my eyes, anyway, I made the video become audio. I just want to let my imagination, which is so poor that it only knows how to draw horizontal and vertical lines but cannot notice the colorful world, run forward first.

Danqing talked about Buffamarco's "The Triumph of Death" and Suzanne Valadon's naked men and women - what would that be like?

The correct answer can be seen as soon as I open my eyes, so let me close my eyes and think about it randomly. If you have never seen a camel, the most you can imagine is that the horse's back is swollen. However, if you imagine a few different types of horse backs, you will be more sensitive when you see a camel.

Born in this world, it is easiest to be numb and hardest to be sensitive.

Massive amounts of information are washing over everything, and the world is more transparent than ever before. If you keep looking at the search engine, it’s hard not to be like Qian Zhongshu or Chen Yinke. Give me ten seconds and I can find out everything. However, finding out is just finding out, there is no surprise at all, let alone remembering it. Next time you use it or check it again, you can always get what you want without any effort, or you can always come up empty-handed.

If you are not willing to accept this, then follow Danqing to his aesthetic scenes. You have seen pictures of David as a sculpture in various sizes, and you remember that he is five meters tall. However, when you flip through the picture album, it is not easy to get behind him and see his butt. This is the benefit you can enjoy on site.

Velázquez became the chief steward of the palace when he was nearly 60 years old, so when he painted "Las Meninas", he had to paint himself in formal attire, especially the large bunch of keys around his waist. The key to the palace. Gozzoli also wanted to include himself in the painting, with four fingers raised, because his price for the job at that time was 400 florins, and this was worth recording to show off to his peers and pass on to future generations.

When we read art history again and see these artists being labeled, can we still just stand by and watch? Think about that bunch of keys and those four fingers, the feeling is different. This is another kind of benefit, as if we are their elementary school classmates or neighbors.

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