Floating - New generation of Art in China

MMCA Gwacheon

National Museum of Contemporary Art, Korea presents Floating-New generation of Art in China with featuring over 130 works of more than 50 promising Chinese artists. In commemoration of the 15th anniversary of amity between Korea and China, two contemporary art exhibitions are about to be held in Seoul and Beijing during the same period to introduce the streams of contemporary art of each part to the public. The exhibition Floating-New Generation of Art in China focused on active and various features of new generation of contemporary art in China. The title of the Exhibition "Floating" indicates contemporary features of China that seem varied but uncertain. These features lead young Chinese artists to get ready to respond to the rapid changes and circumstances, and those young artists can not be defined clearly as what they are just like unknown floats that are drifting on the ocean. Their spirits are floating around in the description of indefinable connections between an individual and the community, the one and the other, oneself and the world.

Young Chinese artists tend to get absorbed in their own worlds because they are too independent to get involved with others. They are describing themselves as if they are floating on the ocean, and we could find them somewhat different and even surrealistic from the works. This is what the word "Floating" makes to imply an artistic code that seems serious but unimportant, pleasant but cynical and also loose but spirited.

In the works of "random drawing" by Zeng Fanzhi, "perspective drawing" by Yang Qian, "glass painting" by Wu Mingzhong, "obscure painting" by Huang Yuanqing and "green water painting" by He Wenjue, they are actually not only reflecting the notion and tradition of Chinese art, but having the notion and tradition transformed with own vision to create unique styles that signify fundamental ideas and contemporaneousness.

The works of "boat" by Li Hui, "Egg Shape" by Xu Zhongmin, "Tree" by Shi Jinsong, "Ant" by Chen Zhiguang and "Labyrinth" by Shao Kang are quite visually effected. "The Second Reality" that they made up creates unacquainted objects that look quite distorted but also familiar with the real objects. And this kind of truth could bring up an issue to think about the reality that we are living in as they are presented to the public.

The works of Xing Danwen, Cao Jingping, Zhang Xiaotao, Chen Wenbo and Tamen symbolize the new sights of contemporary visual image and the transformation from conversion of contemporary artistic language transforming from traditional artistic language. They examined against what they have been taught to issue the social, political and economic problems that have been hidden behind the reality.

He Sen, Chi Peng, Chen Qingqing, Huang Yan, Wang Yiqiong and Yan Kai focus on the tradition of China. Huang Yan was inspired by ancient scriptures. The series of "Books of Mountains and Seas" by Huang Yan, Chen Qingqing who applied ancient patterns to the work, the digital pictures by Wang Yiqiong and Yankai. As for such questions being discussed in Chinese art world as whether contemporary Chinese art should be "localized" or it itself is just the product of western colonialism, contemporary Chinese art must find its ways and methods and its own language and context starting from the local cultural roots and then to the outside world instead of simply imitating tradition and resorting the Chinese marks familiar with western world. We can catch their efforts and considerations to find out what contemporary Chinese art should go for through the works.

The works of Zhu Ming, Zhu Jia, Cui Xiuwen, Yu Gao, Li Wei and Zhao Bandi describe a unique sense to survive and that the sense signifies physical loss and insecure spirits. People enter into a relationship that could be shallow in this urban space called city where grows continually, and this kind of instant relationship naturally cause loneliness. As if they are shrouded by an invisible mantle, they can be seen but can not be truly interacted. The serial works of Zhu Ming, for example, shows the way and sense to survive through the allegories of the moderners who are floating around but isolated.

Visual environment can change the streams of culture and this change influences the way of visual expression of artists. The "Cartoon Era" has been established rapidly in East Asian countries, and China is no exception to this. This "Cartoon Era" could be quite natural and necessary for those artists who impose themselves on the ocean of trendy culture. The works of Chen Ke, Feng Zhengquan, Xiong Wenrun, Pulpo Team, Han Yajuan, Guan Xiao+Wei Honglei can prove this idea.

Guo Yan, Miu Xiaochun and Zhan Wang are the artists who take the meaning of "Floating" as a connection between the outside world and the oneself. A young leading artist Guo Yan suggest her fantasy and experience through a couple from the city. For Miu Xiaochun, the "Floating" means the destiny of mankind. It can be proved in his work titled "Last Judgement". In his work, he describes each step of flying up or falling down under circumstances. And Zhan Wang creates an 'imaginary mountain' that was made of stainless steels, and lets it float away to the boundary line of culture. Through this work, he expresses his intention to deliver strong wills of Chinese artists to the world.