BETWEEN A POLITICAL SOCIETY AND A CONSUMER SOCIETY (The Intentions and Attitudes of Chinese Artists)

The history of contemporary Chinese art over the last decade reflects the great complexity and vibrancy of a changing society. Especially after the 1990’s this complexity has been visible in the breakthrough being made within traditional art methodology and theory. It is also visible in the broader and more holistic conceptualisation of Chinese artists. The increased contact with both traditional Chinese culture, history and the many different perspectives of western art, exhibitions held by Chinese artists abroad and the general background of a global exchange of art and criticism, has greatly Strengthened the capacity of Chinese artists to criticize and comment realistically on society.

During the seventies and through to China’s Economic reforms and opening to the West Chinese artists focused chiefly on realism. Simultaneously they took Western culture and art as a systematic point of reference. However, during the eighties, this western influence was largely confined to textual creations such as literature and criticism. In the nineties, Chinese artists started exhibiting in the west. This initial contact bought out some of the opinions and prejudices through which the west views Chinese art. Differences between cultural communities and personal identities emerged as-questions for discussion.

Several new directions are visible in Chinese art today. Some works take as their point of departure ideology, Chinese history and culture. Political irony and cynicism were the hallmarks of this style. Some important artists, such as Wang Guangyi, Fang Lijun, Liu Wei, Zhang Xianggang commented on reality by mocking it and the self. From the early nineties, China became a consumer society. The changes were sharp and sudden. A mad growth of consumerist attitudes gripped the country as a whole. Artists too were affected.

Other young artists came to Beijing with their dreams of living off their art and settled into a sort of artists’ commune in the outskirts of Yuan Mingyuan or the Old Palace. They were the first to make an attempt to sell their art commercially and live by their art alone. (Before this those who ‘qualified’ as artists were small in number, attached to the artists association and received a regular wage from the government). This group inspired more artists and similar groups starting springing up in all major cities. New and modem artists emerged from amongst these groups. The most spectacular amongst these were ‘action artists’ (live art). They tried to express their understanding of reality by living their concept. Wu Liming, for example, dressed up and acted like a girl, and Zhang Heng used his body as a metaphor, hurting himself to create a work of art.

Apart from this group, several others, especially abroad, took to experimenting with paint, installation art, multi-media and other ideas. In this they tried to rectify some of the curious prejudices regarding Chinese art held by western audiences. The constant appearance of Chinese artists at international forums, haphazard and unstable though it was, soon became a way for intergovernmental bureaucratic exchange and communication on art.

During this period, Chinese art, especially from the mainland, also exhibited a schizophrenic tendency. This meant criticizing and at the same time attempting to appease the powers that be. Some have especially taken the critical stance to extremes.

Using their bodies as art material, injuring themselves, cannibalism, creative pursuits built around the lives of animals. One young artist even committed suicide as an artistic expression. Ai the conceptual level, however, the issues relate to questions of morality, cultural identity, daily life and art, cynicism, knowledge power and ultimately, self identity. And these are questions that affect society as a whole. In the final analysis, Chinese art today exhibits a great vibrancy and capacity to experiment with form and style.

YE YONG QING

Ye Yong Qing is professor at the Sichuan Fine Art Academy, Sichuan. He is an artist and founder member of the UpRiver Loft Artist’s studios in China.