Text：Ron Lam | Translation: dilettante | Photo Courtesy: Sotheby’s Hong Kong
‘One must invest in what one is passionate for.’ is the advice reiterated during interviews with many experienced curators and consultants. The ‘passion’ referred to personal affection, as well as one’s pursuit for Art. The hype gathering around Chinese contemporary art over recent years requires an appropriate interpretation. Only through that one could acquire an accurate perspective on this matter.
On the subject of Chinese contemporary art, ‘Yue Minjun is shit.’ is the first sentence thrown out of the mouth of John Batten (renowned art critic). Although known for his tantrum outburst, this criticism is still weighty coming from Batten. He regards the context of Cultural Revolution and politics (a constant theme in Yue’s work) are merely means to sell. Despite of personal judgment, one becomes more intrigued than ever about the current status of Chinese contemporary art in the international art scene, and how it is going to make an overall impact.
Chinese contemporary art has been making headlines in the international art market. Evidently Chinese art exhibitions are taking place in all major cities and key Chinese artists have been invited to hold solo exhibitions in significant museums. In the latest auctions at Sotheby’s, Chinese art is the focus and traded for over several millions Hong Kong dollars. Artists such as Xu Bing, Gu Wenda and Cai Guo-qiang attracted attention as early as the 1990s, although until now Chinese contemporary art has become a craze in the art market.
The history of contemporary Chinese art is relatively brief. The‘85 New Wave’ movement (started in 1985) is seen as the beginning. Adopting the concepts and formats of Western art, Chinese artists are keen to break from the tradition mode and start a conversation with the international art scene. Chang Tsong-zung (respected art curator) started putting Chinese art exhibition abroad in 1980s with little response. The interest did not boom until early 1990s, but even then Chinese art is not appreciated for its artistic value. They are seen as documentary reporting Chinese politics and culture.
The mentality towards Chinese Art started to shift only when the artwork itself began to be recognised by respected curators and included in international art exhibitions.
Criticising politics and culture is a recurring theme for early Chinese artists, such as Fang Lijun and Wang Guangyi. Mostly in an ironic tone, their style is regarded as ‘Cynical Realism’ and ‘Pop Politics’. These labels enable Chinese Art to be more accessible for the international art market. Chang believes that these labels neatly sum up the world view of Chinese contemporary artists and also their response to realism. ‘Most of Chinese contemporary art processes a vast interest and strength towards the world. The overall power conjured up by Chinese contemporary art is no less than a cultural movement.’ The rising status of China over recent years is another crucial reason why the world is finding new interest in Chinese contemporary art.
The natural growth of Chinese contemporary art is severely condensed, jumping from ground zero right to the current stage. Sotheby’s in Hong Kong launched its venue for Chinese contemporary art in 2004, but the total auctioned figure is already over 100 millions in 2006 with the current price point for an art piece by young artists up to several millions. ‘Chapter of a New Century – Birth of the People’s Republic of China’ by Zhang Xiaogang was sold for USD3,065,000 at Sotheby’s last year. Consider the piece was sold for a mere RMB25,300 in Guangzhou in 1994. ‘The Pope’ by Yue Minjun was sold at a warping UKP2,148,000. The current frenzy is pushing the price point to rise to the level of Western masters like Picasso and Miro. Zuo Yingxue (celebrated Chinese artist currently traveling around Europe) expressed her doubt during an interview, bluntly questioned ‘Who purchased the work of Zhang Xiaogang and the likes?’ In response to that, Lin Jiaru (Manager of the Chinese art division at Sotheby’s) explained that Zhang Xiaogang has gained international recognition in recent years and for the same price, one could process the best work of Zhang Xiaogang but not Picasso.
The constantly changing perspective on art and status of artist fluctuate the prices infinitely. Chang Tsong-zung purchased a piece by Chen Fanzhi with USD1,500 when he was still a young artist. He later sold it at USD30,000 but now the piece is valued to worth over USD1,000,000. ‘The value of an art piece is always subjective. It is inevitable’. Chang continued, ‘Art inspires matters beyond money, but its value (and therefore price) will continue to rise as a commodity.’
The USD20,000,000 price tag of Zhang Xiaogang’s work is seen as ‘calculated’ as well as ‘valued’. The quantity of his work is to be taken into account and his creativity is to be valued. Born in 1958, Zhang lived through the Cultural Revolution and Tiananmen Incident in flesh and blood. His most in demand ‘Bloodline: The Big Family’ is not a literal interpretation of his political views. Instead, it demonstrates our generation by materialising the insecurity on the faces he draws. Produced in Zhang’s early stage, this range is created in the early 1990s. Lin Jiaru believes the artistic quality and low quantity ensure the value of this range to be rising.
Artists of the new generation did not live through revolutions or wars alike, therefore their work are often about the contemporary Chinese society. Liu Xiaodong, a few years junior Zhang Xiaogang, based his drawings on his surroundings. His ‘Three Gorges: Newly Displaced Population’ is based on the Three Gorges, building sites, immigrants, unacquainted lands and the children he observed. Liu visited military areas which became the inspiration of ‘Battlefield Realism: The Eighteen Arhats (Set of 18)’. Lin Jiaru explained ‘Three Gorges and the Eighteen Arhats are both common everyday subjects for the Chinese. Liu interpreted his own observation of the contemporary society through these symbols. His work is contemporary and relevant to art collectors.’
‘Low quantity and contemporary’ (as suggested by Lin Jiaru) could serve as a check point for art collectors, but the same cannot be said for the contemporary artists. Many find the work produced by the young artists (as seen in 798 or Wine Factory art districts) depressing, for the abuse of stereotype elements in attempt to attract Western buyers. Although the relationship between art and commerce remains ambiguous, artists showing obvious commercial concern often find themselves fail to connect to the genuine art collectors.
Some are concerned that increasing investment in art market will become an obstacle for the progression of Chinese art, but at the same time, art market cannot function in its absence in our capitalism society. How to maintain a healthy balance between the two has become the
question for all curators and artists. Chang Tsong-zung invited academic curators to be involved in the ‘Online Auction House’ held last year. Allowing academic discussion in the commercial arena is a fine example to the way forward. On the other hand, the Dafen Oil Painting Village in Shenzhen produces counterfeit art pieces in the name of ‘allowing art and commerce to connect, exchanging talent and wealth’ is just shameful.
The recent development of Chinese contemporary art has paved its way towards the international stage. Individual artists are finding their own ways to rise to the challenge. We are going to interview three young Chinese artists to understand their work and views on the current art scene. (End of Part One)
