L-Art Gallery will host Wang Jun’s first solo exhibition “How it’s Done, How it’s wrong”. This exhibition will showcase the artist’s most recent painting and installation works.

Wang Jun’s recent works tend to regard “painting” as a word more and more. Aiming at this word and the system it covers, his creative practice is carried out. This exhibition is mainly composed of four series of paintings and a set of installation works closely related to the visual mechanism. In Wang Jun’s works, painting has transformed from the tool of expression to the question to be discussed; the way of painting has become the object of thinking. The discussion about painting itself is the conception and intention that the artist sets, as well as the only way to search for possibilities. In this sense, in the world that Wang Jun understands, traditional or contemporary concepts of painting have constituted another dimension of reality. The experience of painting has become an experience of reality that individuality undergoes. In Nonsense 2013, Untitled (Ascription), White is White and Untitled (South Mountain), for Wang Jun, no matter the rumination of writing or the re-examination of masterpieces, no matter the thinking about image itself or the presentation of the emotion of death, they are all interlocking and functioning systematic work. In this work, what he cares is the possible structural relationship to be established between different works, as well as to regard the flexibility created from this structural net as a response to existence.

Today, no matter how you do things, you’ll always be right. How to be wrong is a problem, and also a dilemma. As an obstinate skeptic, Wang Jun experienced the evolvement of the mainstream system in China, from “Cynical Realism” and “Pop Art” to the overflow of “Cartoon” and “Image”, meanwhile, he always stays outside the mainstream system and deliberately keeps a distance. He attempts to search for an independent space with a pulling force of confrontation, so as to confirm the existence of self-involvement. He ceaselessly tried to make mistakes in his works and looked for different ways of painting and the complexity of expression and communication through “trials of mistake”. These are all related to the knowledge of painting and the continuous questioning of this knowledge. These works are simply the evidence of questioning and practicing questioning. When questioning is being practiced, Wang Jun’s action itself surpasses the result of painting. For him, painting here is no longer a noun, but a verb. In front of Wang Jun’s works, traditional ways of observation and communication are obstructed. When we can no longer read and understand as smoothly as before, we are bound to wonder whether this is Wang Jun’s mistake or the mistake of our experience.

Courtesy of L-Art Gallery