W ang Jianwei’s cinematic …the event matured, accomplished in sight of all non-existent human outcomes, No.28 from 2012 is an enigmatic example of the artist’s fascinating and compositionally captivating investigation into the ways in which we think of and experience the static image, and is the largest painting by the artist to ever be brought to auction. Highly acclaimed for his video work, the arrangement of this triptych depicts a moment in t.mes as if a video camera took sequential still shots, producing a composition that is at once static and in motion, continuous and interrupted. Throughout his oeuvre, Wang Jianwei’s work emphasizes the relationship between stage and backstage, the intervention of intellectuals, and the method of using mixed media across various mediums. Along with Beijing contemporaries Zhang Huang and Rong Rong, Wang Jianwei’s work explores the potentialities of different.mes dia to examine contemporary history. Painted in a photorealist style, Wang Jianwei’s characteristic use of a vivid rectangular shapes provide a further compositional framework, drawing the viewer’s eye to the shadowy central figure as they move from segment to segment. Recalling the artist’s expansive work t.mes Temple (2014) held at the prestigious Guggenheim Museum, the present work can be interpreted as a piece of theatre that translates Chinese history into images. Rendered in acrylic and oil, Wang elevates the composition beyond the photographic. Turning the figure of Mao into moving portrait, the artist neither satirizes the ambiguity of his political legacies nor elevates him to the status of heroes. His sensitive treatment of epochal changes, the relationship between individual collects ive, and the interaction between the stage and the image is delicately realised in the present work. 

Wang Jianwei’s work, from his multi-media theatre (Paravent, Ceremony), video works (My Visual Archive), to his paintings have constituted a grand knowledge system that draws on liberal and narrative abilities, as well as the artist’s unique visual experiences. Wang shows a special ability to grasp the nature of moving t.mes and space, and conveys his complex spiritual status via visual elements that are moving, archival and with historical narratives. Born in 1958 in Sichuan Provence, it wasn’t until 1987 that Wang graduated from the Zhejiang Academy of Replica Handbags s in Hangzhou, certainly one of the best places to be for absorbings the wealth of information on developments in contemporary Western culture entering China during this period. It was at this t.mes that the artist developed his distinctive aesthetic, unique in his ability to transform the realist style he had mastered at the Institute into a potent.mes thod of investigating the deeper meanings of the medium of paint. Although Wang Jianwei’s style has changed considerably over the years, his art has remained rooted in his society. As the critic Karen Smith describes, “In many ways, Wang Jianwei is more of a sociologist than an artist in his thinking. He sees visual art primarily as a powerful conduit for social analysis” (Karen Smith, Nine Lives: The Birth of Avant-Garde Art in New China, p. 425.).

汪 建偉的《……或者事件導致了每一個無效的結果No.28》作於2012年，是一件神秘迷人的作品，構圖上引人注目，整體充滿電影感，他在作品中對人們思考和體驗靜態圖像的方式進行探究，此作更是拍賣上迄今最大型的汪建偉繪畫作品。汪建偉的影像作品廣受讚譽，而這組三聯畫的排列是爲了刻畫一瞬間，就像攝錄機連續拍攝靜態照片一樣，形成了一個靜止又動態、連續又中斷的構圖。汪建偉在他的創作中強調舞臺與後臺的關係、知識份子的介入，以及跨越各種不同媒介而使用綜合材料的創作方法。正如同時期的北京藝術家張洹、榮榮一樣，汪建偉的作品探索了不同媒介審視當代歷史的可能性。汪建偉以照片寫實主義風格作畫，運用鮮明的長方形作爲構圖框架，將觀者的視綫吸引到中心人物身上，如投影一般從一幀圖像跳到下一幀。此作讓人想起汪建偉被古根海姆博物館收藏的大型作品《時間寺》（2014年），相比之下，此作可以解讀為一部將中國歷史轉譯為圖像形式的戲劇作品。汪建偉以丙烯和油彩來進行描繪，使作品的層次超越了攝影。他將毛澤東的形象呈現為一組動態的肖像，既沒有諷刺其政治貢獻的模糊性，亦沒有將其擡舉到英雄的地位。汪建偉對時代的變遷、個體與集體的關係以及舞臺與形象的互動關係進行了謹慎細緻的處理，這一點在此作中得到了微妙的體現。

汪建偉的作品，涵蓋多媒體劇場（如《屏風》《儀式》）、影像作品（如《我的視覺檔案》）以及繪畫作品，構成了一個宏大的知識體系，它運用了自由的敘事能力以及他獨特的個人視覺體驗。汪建偉展現出一種特殊能力，他能夠把握時空本質，透過動態和檔案形式的視覺元素，以歷史的敘事方式，來呈現他複雜的精神狀態。汪建偉在1958年出生於四川，而直到1987年，他才從杭州的浙江美術學院畢業，在當時來説，那裏無疑是吸收西方當代文化養分最好的地方之一。正是在這個時候，汪建偉發展了自己的獨特美學，他以獨到的手法將在學校掌握的現實主義風格，轉化為一種研究繪畫媒介更深層次含義的有效方法。王建偉的風格在這些年來發生了很大變化，但他的藝術創作依然紮根於他的社會。正如評論家凱倫·史密斯所描述，「汪建偉的思想在許多方面都更像是一個社會學家，而不是一個藝術家。他主要將視覺藝術視作社會分析的有力渠道」（凱倫·史密斯，《九條命：新中國先鋒藝術的誕生》，頁425）。