{"id":7772,"date":"2013-12-20T12:58:00","date_gmt":"2013-12-20T12:58:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=7772"},"modified":"2022-12-17T13:05:24","modified_gmt":"2022-12-17T13:05:24","slug":"28-chinese-introducing-the-young-generation","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/28-chinese-introducing-the-young-generation\/","title":{"rendered":"\u201c28 Chinese\u201d: Introducing the Young Generation"},"content":{"rendered":"\n

\u201c28 Chinese\u201d | \u4e2d\u534e\u5eff\u516b\u4eba\u201d<\/strong><\/a><\/p>\n\n\n\n

Rubell Family Collection \/ Contemporary Arts Foundation<\/strong> (95 NW 29th Street, Miami, Florida, US) Dec 4, 2013\u2013Aug 1, 2014<\/strong><\/p>\n\n\n\n

This December, the international art crowd convened in Miami again for the 2013 edition of Art Basel Miami Beach, the goliath art fair along with a myriad of satellite fairs and events. For any fair-goers who might feel interested or even just curious about Chinese contemporary art, \u201c28 Chinese\u201d at the Rubell Family Collection is a must-see.<\/p>\n\n\n\n

As the culmination of the collector couple Don and Mera Rubell\u2019s six research trips to China since 2001, \u201c28 Chinese\u201d features paintings, sculptures, photographs and video installations by 28 Chinese artists, and occupies the majority of galleries in the foundation\u2019s 40,000 square-foot building. A quick skim through the artist list begins to reveal the unusualness of this show. Among the 28 artists, the only generally familiar names to American audiences are Ai Weiwei, Zhu Jinshi, Zhang Huan, Huang Yongping and Zhang Enli, all of whose work have seen more widespread representation and circulation in the Western art system. Here, Ai Weiwei and Zhang Huan are represented by several classic pieces from their most important series, with two iconic works by Ai Weiwei\u2014\u201cTon of Tea\u201d (2005), a minimalist cubic sculpture of compressed tea leaves, and \u201cTable with Two Legs\u201d (2008), a wooden sculpture reconstructed from two Qing-dynasty tables\u2014and Zhang Huan\u2019s \u201c12 Square Meters\u201d (1994), \u201c1\/2\u201d (1998), \u201cTo Add One Meter to an Anonymous Mountain\u201d (1995) and \u201cTo Raise The Water Level in a Fishpond\u201d (1995), all relatively older but still some of the most important performances in Zhang\u2019s career.<\/p>\n\n\n\n

While Ai and Zhang\u2019s pieces delineate some popular themes and ethos common in the early works of Chinese contemporary art\u2014traditional aesthetics and the spirit of collectivization\u2014powerful works by Huang Yongping and Zhang Enli are absent in this exhibition. Huang Yongping\u2019s disturbing installation \u201cWell\u201d (2007), with several ceramic pots of decaying snake, bat, goat head taxidermies posing as if they are looking out of the pots, is his only piece in the show. This work is meant as a metaphor for the power relations between East and West\u2014the former constantly and involuntarily observed by the latter as \u201ccultures of otherness\u201d, while people feel scared but too powerless to escape from this awkward situation. Even if we leave out its necrotizing smell, in reality, the work does not serve the artist\u2019s original intention well. As viewers step onto the wooden platforms in front of the pots and peer inside, the dead animals\u2019 unexpected stares alarm the viewers instead, removing the meaning from this work. As for Zhang Enli, his four works depicting a wooden crate, two toilets and the back of people\u2019s heads in this show are slightly disappointing, as they are neither the most sensational nor the most introspective pieces made by the artist.<\/p>\n\n\n\n

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Gallery of Xu Zhen\u2019s works; \u5f90\u9707\u7684\u4f5c\u54c1<\/figcaption><\/figure>\n\n\n\n
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Chen Wei, \u201cHoney in The Broadcast\u201d, archival inkjet print, 2008
\u9648\u7ef4\uff0c\u300a\u5e7f\u64ad\u4e2d\u7684\u871c\u300b\uff0c2008<\/figcaption><\/figure>\n\n\n\n

The expansive roster of participating artists actually spans several generations. As Don Rubell explained in an interview with Artspace<\/a>, they can be categorized into three groups. While multiple works by Ai Weiwei, Zhang Huan and Zhu Jinshi represent the older generation, the exhibition\u2019s principal focus is on the newer generations, beginning with an in-between group\u2014the likes of Liu Wei, Qiu Zhijie, Li Songsong and Wang Xingwei, representing the first separation from the older generation. The exhibition weighs heavily towards what the Rubells called \u201cthe completely young generation\u201d who were born after the Cultural Revolution\u2014among them, Wang Guangle, He Xiangyu, Chen Wei, Cheng Ran, Shang Yixin, Li Shurui and others\u2014who work with a more diversified range of mediums and styles and are still relatively unknown in the West.<\/p>\n\n\n\n

For the \u201cin-between\u201d generation, two large-scale paintings by Li Songsong provide distant and impersonal windows into two of the most familiar historical moments in many Chinese people\u2019s collective memory\u2014the first Chinese astronaut in space and an illustration picture praising a non-existent successful healthcare system drawn from a book from the 1960s. These two paintings naturally stand out in the artist\u2019s signature style\u2014greyish tones, rough brushstrokes and fragmented images. Among the young generation, Wang Guangle\u2019s two recent coffin-paint-inspired abstract paintings are among the most interesting pieces, the stories behind the works and the coffin paint tradition from southern China intriguing enough for all kinds of audiences\u2014regardless of how knowledgeable they are about the latest developments in the Chinese art scene. Elsewhere, Chen Wei\u2019s staged photography, exemplified by \u201cThe Stars in The Night Sky Are Innumerable\u201d (2010) and \u201cHoney in The Broadcast\u201d (2008), along with Liu Chuang\u2019s archive-like installations exposing all personal belongings bought from job seekers in a Shenzhen career fair, are all very self-explanatory.<\/p>\n\n\n\n

\"\"<\/a>
Zhu Jinshi, \u201cBoat\u201d, xuan paper, bamboo and cotton thread, 2012
\u6731\u91d1\u77f3,\u300a\u8239\u300b, \u5ba3\u7eb8\u3001\u7af9\u3001\u68c9\u82b1\uff0c2012<\/figcaption><\/figure>\n\n\n\n

The largest piece in this exhibition\u2014and also probably the iconic piece to many visitors\u2014is Zhu Jinshi\u2019s \u201cBoat\u201d (2012), a 15-meter-tall tubular installation assembled from 10,000 sheets of xuan<\/em> paper that are attached to hundreds of bamboo sticks and cotton threads. The sheer volume and monumentality of the installation is countered by the lightness of each paper, instilling a Zen-like atmosphere. As all the sheets were handled and installed separately by a number of assistants and volunteers at different moments, this spectacle-like installation could be interpreted as collective efforts building history. In another main gallery nearby, together with several of Zhu\u2019s sculptural paintings are Liu Wei\u2019s geometric abstract paintings. One of these works on view is the monumental triptych \u201cPower and Kingdom\u201d (2007-2010), included in a Rubell Collection group show during last year\u2019s Art Basel Miami. The wildness of Zhu\u2019s vibrantly colored and heavy strokes are juxtaposed with the rationality and order embodied in Liu Wei\u2019s works, pointing at how the exhibition further explores the rise and varieties of geometric abstraction in the latest development of Chinese contemporary art. Here, too, are Xie Molin\u2019s patterned paintings produced by digitally programmed carving machines, Li Shurui\u2019s psychedelic works inspired by light and color, and Shang Yixin\u2019s illusionary matrix paintings that manipulate viewers\u2019 visual logic.<\/p>\n\n\n\n

\"\"<\/a>
Zhu Jinshi, \u201cPower and Kingdom\u201d, 2007\u20132010, and Liu Wei, \u201cLiberation No.1\u2033, 2013.
\u6731\u91d1\u77f3\uff0c\u300a\u6743\u529b\u4e0e\u6c5f\u5c71\u300b, 2007\u20132010; \u5218\u97e1\uff0c\u201c\u89e3\u653e1\u2033, 2013<\/figcaption><\/figure>\n\n\n\n
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Li Ming, \u201cSongs of Artist\u201d, video, 2011
\u674e\u660e\uff0c\u300a\u827a\u672f\u5bb6\u4e4b\u6b4c\u300b\uff0c\u56db\u9053\u89c6\u9891\uff0c2011<\/figcaption><\/figure>\n\n\n\n

The inclusion of many non-clich\u00e9 and truly interesting video pieces by this new generation of artists is also a highlight. On the second floor, the exhibition has dedicated an entire central gallery to display Li Ming\u2019s four-channel video \u201cSongs of Artist\u201d (2011). In the video, the artist seem to be using a series of imagery: ducks chased by the artist, four crows singing harmoniously, a group of ducks tied together with ropes, and a dying bat crawling on the street\u2014which comment on his own experiences of being involved in a few artist groups, or else the competitive peer pressure he faced in China\u2019s booming art market. However, within the context of the global art ecosystem, the video\u2019s message of an artist\u2019s awkward, ever-shifting identity gains even more relevance and meaning. A few other smart video pieces are present, too, one of which is Hu Xiangqian\u2019s \u201cSun\u201d (2008): here, the artist\u2019s steely determination to achieve the \u201cmost natural\u201d skin color\u2014to be as tanned as his African friends\u2014may look like a hilarious \u201cotherness\u2019s obsession with another otherness\u201d to Western eyes, but it truly evokes a serious discussion about the possibility of an individual\u2019s identity in the globalized world.<\/p>\n\n\n\n

\u201cIn this exhibition, we try our best to give each artist their own space to present their work,\u201d as the foundation director Juan Roselione-Valadez said when asked about the exhibition\u2019s curatorial approach, \u201cEvery artist\u2019s work is paired with a description or statement written by the artist himself\/herself.\u201d Though artists do occasionally share the same gallery space due to the limitations of space, this approach clearly emphasizes the individuality of each artist\u2014and that each non-Western artist is treated individually, just like artists from the West, rather than lumped together as members of a huge collective inscribed by their oftentimes oversimplified and flattened regional identity.<\/p>\n\n\n\n

Reading the artist statements throughout the galleries is especially interesting. In the absence of the usual mediation from gallery and museum staffs, the artists approached their own statements very differently. For example, while Chen Wei and Hu Xiangqiang detail their ideas and creative process through a personal narrative, Huang Ran explains all his works with a short poetry-like sentence. Yan Xing uses somewhat obscure terms to present his concepts, while Li Shurui thought it more meaningful to tell the audience a background story in her life, even if it is only remotely related to the works on display. Ultimately, reading an artist\u2019s statement in a space filled with his\/her works resembles a face-to-face conversation with the artist, almost like a studio visit. While as unedited primary materials, these artist statements do sometimes make the works even harder to understand, the approach nevertheless restores an intimate and \u201cunprocessed\u201d encounter with the artists and their works for many Western visitors.<\/p>\n\n\n\n

Known for putting on trend-setting exhibitions, such as those focusing on Leipzig, Polish or young African-American artists in the past decade, the Rubells have earned renown from the art world globally for their shows\u2019 impact on how we look at and think about art today. One example was an earlier exhibition called \u201c30 Americans,\u201d introducing a group of young African-American artists such as Rashid Johnson, Mark Bradford and Hank Willis Thomas, which had a significant impact on the art world. Of course, there were limitations to how \u201c28 Chinese\u201d was presented. While an expansive roster of Chinese artists are shown in this exhibition, this \u201cbuffet-style\u201d presentation could at times be perplexing to the audience due to the lack of context and directions. For some pieces, since neither artist statements nor the audio guide offers enough insights, more in-depth knowledge about the work or the series it belongs to would necessitate further research elsewhere\u2014limitations which are understandable considering the fact that the resources and mandates of a private collection and a museum are different. Thus, this is a decent exhibition that marks many young Chinese artists\u2019 entr\u00e9e in America\u2014one that despite whatever drawbacks, will serve as a foundation for the future.<\/p>\n\n\n\n

\"\"<\/a>
Shang Yixin, \u201c1061\u201d, acrylic on canvas, 2012
\u5c1a\u4e00\u5fc3\uff0c\u300a1061\u300b\uff0c2012<\/figcaption><\/figure>\n\n\n\n
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Yan Xing, \u201cRealism\u201d, 2011
\u9122\u9192\uff0c\u300a\u73b0\u5b9e\u4e3b\u4e49\u300b, 2011<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

\u201c28 Chinese\u201d | \u4e2d\u534e\u5eff\u516b\u4eba\u201d Rubell Family Coll … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":8,"featured_media":7810,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[3932,3933,279,3922,3920,3921,1747,3587,3923,3924,3477,3925,178,3926,103,3928,3927,3929,3930,975,2906,3931,3934],"yoast_head":"\n\u201c28 Chinese\u201d: Introducing the Young Generation - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/28-chinese-introducing-the-young-generation\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201c28 Chinese\u201d: Introducing the Young Generation - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"\u201c28 Chinese\u201d | \u4e2d\u534e\u5eff\u516b\u4eba\u201d Rubell Family Coll … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/28-chinese-introducing-the-young-generation\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2013-12-20T12:58:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-12-17T13:05:24+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zhu-jinshi-boat.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"2000\" \/>\n\t<meta property=\"og:image:height\" content=\"1333\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Duyen Le\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Duyen Le\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/28-chinese-introducing-the-young-generation\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/28-chinese-introducing-the-young-generation\/\"},\"author\":{\"name\":\"Duyen Le\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/4d95ceea857b4c4fde91b6437bfaee13\"},\"headline\":\"\u201c28 Chinese\u201d: Introducing the Young Generation\",\"datePublished\":\"2013-12-20T12:58:00+00:00\",\"dateModified\":\"2022-12-17T13:05:24+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/28-chinese-introducing-the-young-generation\/\"},\"wordCount\":1712,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"\u201c28 Chinese\u201d\",\"\u201c28 Chinese\u201d: Introducing the Young Generation\",\"ai weiwei\",\"Art Basel Miami\",\"Art Basel Miami Beach\",\"Cao Bingqin\",\"chen wei\",\"Cheng Ran\",\"He Xiangyu\",\"Huang Yongping\",\"Li Shurui\",\"Li Songsong\",\"Liu Wei\",\"Miami\",\"Qiu Zhijie\",\"Rubell Family\",\"Shang Yixin\",\"Wang Guangle\",\"Wang Xingwei\",\"zhang enli\",\"Zhang Huan\",\"Zhu Jinshi\",\"\u66f9\u51b0\u6c81\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/28-chinese-introducing-the-young-generation\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/28-chinese-introducing-the-young-generation\/\",\"url\":\"http:\/\/www.randian.art\/28-chinese-introducing-the-young-generation\/\",\"name\":\"\u201c28 Chinese\u201d: Introducing the Young Generation - 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