Anti-Mechanism and Anti-Fetishism: “Bad Painting” as A Method

“Bad painting, ” as a pioneering artistic method, has permeated the history of art, with its deconstructive and provocative nature being interpreted and evaluated differently across various historical periods. This paper explores the significance of “bad painting” from two perspectives: first, as a post-modernist aesthetic concept, it challenges classical aesthetics, granting historical significance to painting styles that defy traditional rules and serving as a driving force for aesthetic critique and reflection; second, as an internal self-revolution for artists, “bad painting” restarts the creative system through de-technologization and selfdeconstruction, embodying a vanguard attitude. The paper also analyzes the deeper implications of “bad painting” in anti-fetishism and anti-capital solidification, and examines the tradition of “bad painting” in Chinese Zen ink painting and its inspiration for modern art. The research demonstrates that "bad painting" is not merely a phenomenon in art history but also a conscious choice for individuals to resist entrenched power and aesthetic systems.