![\"\"](\"https:\/\/ffd.or.id\/site\/wp-content\/uploads\/2024\/09\/14-Paintings-Still-3-500x375.jpg\")
<\/p>\nDafen Urban Village in Shenzhen, China is known as an art village and the epicenter of painting reproduction in China. Dafen\u2019s identity as an art village has allowed it to dominate the painting industry since the mid-2000s (Arnold, 2017). However, the transition of political conditions and government policies intervened in the labeling of Dafen Village, which is known for its \u201ccopy\u201d production, and now the government supports painters in Dafen to sell works that emphasize the \u201coriginality\u201d of their paintings.<\/p>\n
14 Paintings (Cheng Dongnan, 2023) explores a narrative debate on the trend of commodification of paintings in Dafen through the representation of 14 paintings and the stories that reside behind the works. Questions such as, where will these paintings be displayed? Does market taste influence the paintings? How is \u201coriginality\u201d positioned by the painter to be relevant? Each painting answers one by one to build a real picture of the art market ecosystem and how the government and society \u2018treat\u2019 paintings and painters (firstfilm.org, 2023).<\/p>\n
<\/p>\n
Director Chen presents the 14 paintings in an \u201cart exhibition\u201d format that translates through a series of painting montages right where the works are installed (whether on a wall on the side of the road, in an office cubicle, or even in an internet caf\u00e9 where online games are played). As befits a painting exhibition, Chen also provides quotes\u2014serving as a kind of \u201cartist\u2019s statement\u201d\u2014whether they come from the painter himself, a collector of one of the paintings, or other people in response to the process or the painting itself on a personal level.<\/p>\n
The \u201cartis\u2019s statement\u201d is important to be presented alongside the composition of this 14-painting exhibition because of its function as a narrative vehicle in understanding China\u2019s socio-political conditions that take us to take a little peek at the condition of painters seen from major events such as the era of the Great Proletarian Cultural Revolution to the COVID-19 pandemic. The fragments of the story that are presented through personal quotes from the painters one by one form a landscape of thoughts about what social problems afflict painters in Dafen and what motivates them to be involved in the rotation of the art market in Dafen with their various views on government policies and market demands today.<\/p>\n
![\"\"](\"https:\/\/ffd.or.id\/site\/wp-content\/uploads\/2024\/09\/14-Paintings-Still-1-500x375.jpg\")
<\/p>\n
A contemplation comes through the representation of the fourteen paintings, expressing the feelings of everyone dealing with the chaos of market demand that kills creativity. The banality of production kills the passion in creating works and the jargon of \u201coriginality\u201d does not fit the conditions and is too forced. It\u2019s time for those trapped in this situation to recover and move freely again. (Gantar Sinaga) (Ed. Vanis\/Trans. Naufal Shabri)<\/p>\n
<\/p>\n Film Details Screening Schedule Dafen Urban Village in Shenzhen, China is known as an art village and the epicenter of painting reproduction in China. Dafen\u2019s identity as an art village has allowed it to dominate the painting industry since the mid-2000s (Arnold, 2017). However, the transition of political conditions and government policies intervened in the labeling of Dafen Village, […]<\/p>\n","protected":false},"author":788,"featured_media":40371,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[21],"tags":[],"edition":[742],"class_list":["post-41793","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film-review-en","edition-ffd-2024-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/posts\/41793","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/users\/788"}],"replies":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/comments?post=41793"}],"version-history":[{"count":0,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/posts\/41793\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/media\/40371"}],"wp:attachment":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/media?parent=41793"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/categories?post=41793"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/tags?post=41793"},{"taxonomy":"edition","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/edition?post=41793"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nReference
\n<\/strong>Arnold, F. (2017). \u201cThe World\u2019s Art Factory Is in Jeopardy.\u201d artsy.net. Accessed online in 14 October 2024 via https:\/\/www.artsy.net\/article\/artsy-editorial-village-60-worlds-paintings-future-jeopardy
\nFIRST FILM. \u201c14 Paintings\u2019 Director\u2019s Statement.\u201d Accessed online in 14 October 2024 via https:\/\/www.firstfilm.org.cn\/en\/movies-en\/film-library-en\/14-paintings\/<\/p>\n
\n<\/strong>14 Paintings (\u5386\u5386\u5982\u753b)
\nDongnan Chen | 24 Min | 2023 | China
\nOfficial Selection for Spektrum
\n<\/strong>Festival Film Dokumenter 2024<\/p>\n
\n<\/strong>Nov. 2 | 19:00 WIB | Militaire Societeit, TBY
\nNov. 7 | 19:00 WIB | Amphitheater, TBY<\/p>\n","protected":false},"excerpt":{"rendered":"