GIF-YangJiechang

YANG JIECHANG

YANG JIECHANG

YANG JIECHANG

YANG JIECHANG

YANG
JIECHANG

Studio Views 

Viewing Room

Viewing Room

Viewing Room

Viewing Room

Explore more about the artist, his working place
and his new series of works.

Explore more about the artist, his working place 
and his new series of works.

Explore more about the artist, his working place 
and his new series of works.

Explore more about the artist, his working place 
and his new series of works.

Explore more about the artist, his working place and his new series of works.

 

DISCOVER THE WORLD OF AN EXPRESSIVE OEUVRE INFLUENCED BY CALLIGRAPHIC ART

DISCOVER THE WORLD OF AN EXPRESSIVE OEUVRE INFLUENCED BY CALLIGRAPHIC ART

DISCOVER THE WORLD OF AN EXPRESSIVE OEUVRE INFLUENCED BY CALLIGRAPHIC ART


DISCOVER THE WORLD OF AN EXPRESSIVE OEUVRE INFLUENCED BY CALLIGRAPHIC ART

SETAREH is pleased to present Yang Jiechang in this episode of Studio Views, an online series displaying recent works of artists represented by the gallery. The Viewing Room highlights the latest works by Yang Jiechang.

As a global and social notable figure, Yang Jiechang’s calligraphically paintings operate as a form of activism,  addressing the relation between the Eastern and the Western world. With graceful and skillful executions, Yang Jiechang’s works deal with the divergent subjects of material and spiritual transcendence. Each work individually, reflects on nature’s texture, romanticisations and spirituality, following entirely layers of ink. Timeless ink paintings form are the central practice of his art, which is both thematically and aesthetically wide-ranged and includes drawings as well as video works, sculptures, installations and ceramics. 


SETAREH is pleased to present Yang Jiechang in this episode of Studio Views, an online series displaying recent works of artists represented by the gallery. The Viewing Room highlights the latest works by Yang Jiechang.

As a global and social notable figure, Yang Jiechang’s calligraphically paintings operate as a form of activism,  addressing the relation between the Eastern and the Western world. With graceful and skillful executions, Yang Jiechang’s works deal with the divergent subjects of material and spiritual transcendence. Each work individually, reflects on nature’s texture, romanticisations and spirituality, following entirely layers of ink. Timeless ink paintings form are the central practice of his art, which is both thematically and aesthetically wide-ranged and includes drawings as well as video works, sculptures, installations and ceramics. 


SETAREH is pleased to present Yang Jiechang in this episode of Studio Views, an online series displaying recent works of artists represented by the gallery. The Viewing Room highlights the latest works by Yang Jiechang.

As a global and social notable figure, Yang Jiechang’s calligraphically paintings operate as a form of activism,  addressing the relation between the Eastern and the Western world. With graceful and skillful executions, Yang Jiechang’s works deal with the divergent subjects of material and spiritual transcendence. Each work individually, reflects on nature’s texture, romanticisations and spirituality, following entirely layers of ink. Timeless ink paintings form are the central practice of his art, which is both thematically and aesthetically wide-ranged and includes drawings as well as video works, sculptures, installations and ceramics.

 

SETAREH is pleased to present Yang Jiechang in this episode of Studio Views, an online series displaying recent works of artists represented by the gallery. The Viewing Room highlights the latest works by Yang Jiechang.

As a global and social notable figure, Yang Jiechang’s calligraphically paintings operate as a form of activism,  addressing the relation between the Eastern and the Western world. With graceful and skillful executions, Yang Jiechang’s works deal with the divergent subjects of material and spiritual transcendence. Each work individually, reflects on nature’s texture, romanticisations and spirituality, following entirely layers of ink. Timeless ink paintings form are the central practice of his art, which is both thematically and aesthetically wide-ranged and includes drawings as well as video works, sculptures, installations and ceramics. 

SETAREH is pleased to present Yang Jiechang in this episode of Studio Views, an online series displaying recent works of artists represented by the gallery. The Viewing Room highlights the latest works by Yang Jiechang.

As a global and social notable figure, Yang Jiechang’s calligraphically paintings operate as a form of activism,  addressing the relation between the Eastern and the Western world. With graceful and skillful executions, Yang Jiechang’s works deal with the divergent subjects of material and spiritual transcendence. Each work individually, reflects on nature’s texture, romanticisations and spirituality, following entirely layers of ink. Timeless ink paintings form are the central practice of his art, which is both thematically and aesthetically wide-ranged and includes drawings as well as video works, sculptures, installations and ceramics.

Yang Jiechang, 1999, Lifelines 1, Ink and acrylic on paper, mounted on canvas, 230 x 590 cm

Lifelines 1, 1999
Ink and acrylic on paper, mounted on canvas
230 x 590 cm

Lifelines 1, 1999
Ink and acrylic on paper, mounted on canvas
230 x 590 cm

Lifelines 1, 1999
Ink and acrylic on paper, mounted on canvas
230 x 590 cm

Lifelines 1, 1999
Ink and acrylic on paper, mounted on canvas
230 x 590 cm

Lifelines 1, 1999
Ink and acrylic on paper, mounted on canvas
230 x 590 cm

Yang Jiechang, 2011-2012, Golden Day (Tale of the 11th Day Series), Ink and mineral colours on silk, mounted on canvas, 8 panels, each 244,5 x 141 cm
Detail: Yang Jiechang, 2011-2012, Golden Day (Tale of the 11th Day Series), Ink and mineral colours on silk, mounted on canvas, 8 panels, each 244,5 x 141 cm

Details: Golden Day (Tale of the 11th Day Series), 2011-2012
Ink and mineral colours on silk, mounted on canvas
8 panels, each 244,5 x 141 cm 

Details: Golden Day (Tale of the 11th Day Series), 2011-2012
Ink and mineral colours on silk, mounted on canvas
8 panels, each 244,5 x 141 cm 

Details: Golden Day (Tale of the 11th Day Series), 2011-2012
Ink and mineral colours on silk, mounted on canvas
8 panels, each 244,5 x 141 cm 

Details: Golden Day (Tale of the 11th Day Series), 2011-2012
Ink and mineral colours on silk, mounted on canvas
8 panels, each 244,5 x 141 cm 

Detail: Yang Jiechang, 2011-2012, Golden Day (Tale of the 11th Day Series), Ink and mineral colours on silk, mounted on canvas, 8 panels, each 244,5 x 141 cm

Details: Golden Day (Tale of the 11th Day Series)

Details: Golden Day (Tale of the 11th Day Series)

Details: Golden Day (Tale of the 11th Day Series)

Details: Golden Day (Tale of the 11th Day Series)

Yang Jiechang’s aim is however to use art as a way of social and political action, to express sympathy and rebellion against any form of injustice. As a kind of participation , the artist explores traditional Chinese media and transfers it into a new modern way owing to the utilization of ink, mineral colour and calligraphy. By using the Chinese brush as a main tool, he takes part in the contemporary artworld. In addition, he adopts the performative expression of the traditional pattern, criticizing contemporary societies. The central concerns of Yang Jiechang's artistic practice is to review power, wealth, violence and terror within new modern structures.

Yang Jiechang’s aim is however to use art as a way of social and political action, to express sympathy and rebellion against any form of injustice. As a kind of participation , the artist explores traditional Chinese media and transfers it into a new modern way owing to the utilization of ink, mineral colour and calligraphy. By using the Chinese brush as a main tool, he takes part in the contemporary artworld. In addition, he adopts the performative expression of the traditional pattern, criticizing contemporary societies. The central concerns of Yang Jiechang's artistic practice is to review power, wealth, violence and terror within new modern structures.


Yang Jiechang’s aim is however to use art as a way of social and political action, to express sympathy and rebellion against any form of injustice. As a kind of participation , the artist explores traditional Chinese media and transfers it into a new modern way owing to the utilization of ink, mineral colour and calligraphy. By using the Chinese brush as a main tool, he takes part in the contemporary artworld. In addition, he adopts the performative expression of the traditional pattern, criticizing contemporary societies. The central concerns of Yang Jiechang's artistic practice is to review power, wealth, violence and terror within new modern structures.


 
Yang Jiechang’s aim is however to use art as a way of social and political action, to express sympathy and rebellion against any form of injustice. As a kind of participation , the artist explores traditional Chinese media and transfers it into a new modern way owing to the utilization of ink, mineral colour and calligraphy. By using the Chinese brush as a main tool, he takes part in the contemporary artworld. In addition, he adopts the performative expression of the traditional pattern, criticizing contemporary societies. The central concerns of Yang Jiechang's artistic practice is to review power, wealth, violence and terror within new modern structures.


Yang Jiechang’s aim is however to use art as a way of social and political action, to express sympathy and rebellion against any form of injustice. As a kind of participation , the artist explores traditional Chinese media and transfers it into a new modern way owing to the utilization of ink, mineral colour and calligraphy. By using the Chinese brush as a main tool, he takes part in the contemporary artworld. In addition, he adopts the performative expression of the traditional pattern, criticizing contemporary societies. The central concerns of Yang Jiechang's artistic practice is to review power, wealth, violence and terror within new modern structures.

Yang Jiechang, 2011, Tale of the 11th Day, Ink and mineral colours on silk, mounted on canvas, 8 panels, each 148 x 225 cm, total 148 x 1800 cm
Yang Jiechang, 2011, Tale of the 11th Day, Ink and mineral colours on silk, mounted on canvas, 8 panels, each 148 x 225 cm, total 148 x 1800 cm

Tale of the 11th Day, 2011
Ink and mineral colours on silk, mounted on canvas
8 panels, each 148 x 225 cm, total 148 x 1800 cm

Tale of the 11th Day, 2011
Ink and mineral colours on silk, mounted on canvas
total 148 x 1800 cm, 8 panels, each 148 x 225 cm

Tale of the 11th Day, 2011
Ink and mineral colours on silk, mounted on canvas
total 148 x 1800 cm, 8 panels, each 148 x 225 cm

 Tale of the 11th Day, 2011
Ink and mineral colours on silk, mounted on canvas
total 148 x 1800 cm, 8 panels, each 148 x 225 cm

 Tale of the 11th Day, 2011
Ink and mineral colours on silk, mounted on canvas
total 148 x 1800 cm, 8 panels, each 148 x 225 cm

“Being an artist is above all an attitude based on experience and communication. Art is a message encouraging the individual to go beyond his/her limits, to break conventions and taboos.” 

– Yang Jiechang

“Being an artist is above all an attitude based on experience and communication. Art is a message encouraging the individual to go beyond his/her limits, to break conventions and taboos.” 

– Yang Jiechang

“Being an artist is above all an attitude based on experience and communication. Art is a message encouraging the individual to go beyond his/her limits, to break conventions and taboos.” 

– Yang Jiechang

“Being an artist is above all an attitude based on experience and communication. Art is a message encouraging the individual to go beyond his/her limits, to break conventions and taboos.” 

– Yang Jiechang

“Being an artist is above all an attitude based on experience and communication. Art is a message encouraging the individual to go beyond his/her limits, to break conventions and taboos.” 

– Yang Jiechang

Detail: Yang Jiechang, 2011, Tale of the 11th Day, Ink and mineral colours on silk, mounted on canvas, 8 panels, each 148 x 225 cm, total 148 x 1800 cm
Detail: Yang Jiechang, 2011, Tale of the 11th Day, Ink and mineral colours on silk, mounted on canvas, 8 panels, each 148 x 225 cm, total 148 x 1800 cm

Details: Tale of the 11th Day, 2011
Ink and mineral colours on silk, mounted on canvas

Yang Jiechang (b. 1956, based in Paris, FR and Heidelberg, DE), studied at the Guangzhou Academy of Fine Arts. After, he withdrew from art school to study with Buddhist and Daoist masters, who thaught him techniques which served as a base for his "Tales of the 11th Day" painting. The work depicts an imagined paradise roughly based on the setting for the Decameron, a work of fourteenth century Florentine literature by Giovanni Boccaccio. Whether copulating, embracing or simply observing living beings, it becomes clear that Yang's imagined paradise is a non-coercive one—based on power dynamics, where violence is completely missing.

Yang Jiechang (b. 1956, based in Paris, FR and Heidelberg, DE), studied at the Guangzhou Academy of Fine Arts. After, he withdrew from art school to study with Buddhist and Daoist masters, who thaught him techniques which served as a base for his "Tales of the 11th Day" painting. The work depicts an imagined paradise roughly based on the setting for the Decameron, a work of fourteenth century Florentine literature by Giovanni Boccaccio. Whether copulating, embracing or simply observing living beings, it becomes clear that Yang's imagined paradise is a non-coercive one—based on power dynamics, where violence is completely missing.

Yang Jiechang (b. 1956, based in Paris, FR and Heidelberg, DE), studied at the Guangzhou Academy of Fine Arts. After, he withdrew from art school to study with Buddhist and Daoist masters, who thaught him techniques which served as a base for his "Tales of the 11th Day" painting. The work depicts an imagined paradise roughly based on the setting for the Decameron, a work of fourteenth century Florentine literature by Giovanni Boccaccio. Whether copulating, embracing or simply observing living beings, it becomes clear that Yang's imagined paradise is a non-coercive one—based on power dynamics, where violence is completely missing.

Yang Jiechang (b. 1956, based in Paris, FR and Heidelberg, DE), studied at the Guangzhou Academy of Fine Arts. After, he withdrew from art school to study with Buddhist and Daoist masters, who thaught him techniques which served as a base for his "Tales of the 11th Day" painting. The work depicts an imagined paradise roughly based on the setting for the Decameron, a work of fourteenth century Florentine literature by Giovanni Boccaccio. Whether copulating, embracing or simply observing living beings, it becomes clear that Yang's imagined paradise is a non-coercive one—based on power dynamics, where violence is completely missing.

Yang Jiechang (b. 1956, based in Paris, FR and Heidelberg, DE), studied at the Guangzhou Academy of Fine Arts. After, he withdrew from art school to study with Buddhist and Daoist masters, who thaught him techniques which served as a base for his "Tales of the 11th Day" painting. The work depicts an imagined paradise roughly based on the setting for the Decameron, a work of fourteenth century Florentine literature by Giovanni Boccaccio. Whether copulating, embracing or simply observing living beings, it becomes clear that Yang's imagined paradise is a non-coercive one—based on power dynamics, where violence is completely missing.

Stranger than Paradise - Autumn Moon, 2009
Ink and mineral colours on silk, mounted on canvas    95,5 x 121,5 cm

Stranger than Paradise - Autumn Moon, 2009
Ink and mineral colours on silk, mounted on canvas    95,5 x 121,5 cm

Stranger than Paradise - Autumn Moon, 2009
Ink and mineral colours on silk, mounted on
95,5 x 121,5 cm

Stranger than Paradise - Autumn Moon, 2009
Ink and mineral colours on silk, mounted on canvas    95,5 x 121,5 cm

Stranger than Paradise - Autumn Moon, 2009
Ink and mineral colours on silk, mounted on canvas    95,5 x 121,5 cm

Yang Jiechang, 2009, Stranger than Paradise - Autumn Moon, Ink and mineral colours on silk, mounted on canvas, 95,5 x 121,5 cm
Yang Jiechang, 2009, Stranger than Paradise - Twinpeaks, Ink and mineral colours on silk, mounted on canvas, 95,5 x 121,5 cm

Stranger than Paradise - Twinpeaks, 2009
Ink and mineral colours on silk, mounted on canvas
95,5 x 121,5 cm

Stranger than Paradise - Twinpeaks, 2009
Ink and mineral colours on silk, mounted on canvas
95,5 x 121,5 cm

Stranger than Paradise - Twinpeaks, 2009
Ink and mineral colours on silk, mounted on canvas
95,5 x 121,5 cm

Stranger than Paradise - Twinpeaks, 2009
Ink and mineral colours on silk, mounted on canvas
95,5 x 121,5 cm

Stranger than Paradise - Twinpeaks, 2009
Ink and mineral colours on silk, mounted on canvas
95,5 x 121,5 cm

Stranger than Paradise - Red Grotto, 2009
Ink and mineral colours on silk, mounted on canvas
95,5 x 121,5 cm

Stranger than Paradise - Red Grotto, 2009
Ink and mineral colours on silk, mounted on canvas
95,5 x 121,5 cm

Stranger than Paradise - Red Grotto, 2009
Ink and mineral colours on silk, mounted on canvas
95,5 x 121,5 cm

Stranger than Paradise - Red Grotto, 2009
Ink and mineral colours on silk, mounted on canvas
95,5 x 121,5 cm

Stranger than Paradise - Red Grotto, 2009
Ink and mineral colours on silk, mounted on canvas
95,5 x 121,5 cm

Yang Jiechang, 2009, Stranger than Paradise - Red Grotto, Ink and mineral colours on silk, mounted on canvas, 95,5 x 121,5 cm

Yang, who belongs to the second generation of contemporary artists in China, grew up during the Cultural Revolution (1966–1976). The beginning of his artistic career coincides with China‘s political opening in the late 1970s and early 1980s. From 1973 to 1978, he was trained at the ‚Folkart Institute‘ in Foshan in paper mounting, calligraphy and traditional Chinese painting, which he further developed over several decades and redefined in the light of the present-day.

Yang, who belongs to the second generation of contemporary artists in China, grew up during the Cultural Revolution (1966–1976). The beginning of his artistic career coincides with China‘s political opening in the late 1970s and early 1980s. From 1973 to 1978, he was trained at the ‚Folkart Institute‘ in Foshan in paper mounting, calligraphy and traditional Chinese painting, which he further developed over several decades and redefined in the light of the present-day.

Yang, who belongs to the second generation of contemporary artists in China, grew up during the Cultural Revolution (1966–1976). The beginning of his artistic career coincides with China‘s political opening in the late 1970s and early 1980s. From 1973 to 1978, he was trained at the ‚Folkart Institute‘ in Foshan in paper mounting, calligraphy and traditional Chinese painting, which he further developed over several decades and redefined in the light of the present-day.

Yang, who belongs to the second generation of contemporary artists in China, grew up during the Cultural Revolution (1966–1976). The beginning of his artistic career coincides with China‘s political opening in the late 1970s and early 1980s. From 1973 to 1978, he was trained at the ‚Folkart Institute‘ in Foshan in paper mounting, calligraphy and traditional Chinese painting, which he further developed over several decades and redefined in the light of the present-day.

Yang, who belongs to the second generation of contemporary artists in China, grew up during the Cultural Revolution (1966–1976). The beginningof his artistic career coincides with China‘s political opening in the late 1970s and early 1980s. From 1973 to 1978, he was trained at the ‚Folkart Institute‘ in Foshan in paper mounting, calligraphy and traditional Chinese painting, which he further developed over several decades and redefined in the light of the present-day.

The text refers in parts to the curator Heinz-Nobert Jocks, who was involved in Yang Jiechang's exhibition in 2018.

The text refers in parts to the curator Heinz-Nobert Jocks, who was involved in Yang Jiechang's exhibition in 2018.

Yang Jiechang's recent work in his Studio in Heidelberg, Germany

Yang Jiechang's recent work
in his Studio in Heidelberg, Germany

Yang Jiechang's recent work in his Studio in Heidelberg, Germany

Yang Jiechang Journal Artpress 2020

December 2020
ARTPRESS

December 2020
ARTPRESS

December 2020
ARTPRESS

December 2020
ARTPRESS

December 2020
ARTPRESS

For more information and inquiries

For more information and inquiries

For more information and inquiries

For more information and inquiries

For more information and inquiries