Fang Lijun (1963- ) - 1996 No. 17 (Private Collection)
Woodblock prints and ink on 3 paper and fabric scrolls with wooden dowels; 244 x 366 cm.
Fang Lijun (born 1963, Handan, Hebei province, China) is an artist based in Beijing [1]. He was born into a wealthy family with a high social status. In the 1990s, there was a cultural movement[1] in China referred to as Cynical Realism of which Fang Lijun was a membe. Living in China during this critical time [2] shaped his worldview in terms of his views on art, human values and morality.
During his time at school, he met LiXianting (who would later be a famous critic) and was introduced to watercolors, oil paints and ink. Fang Lijun decided to leave high school to pursue his artistic dream. He made a decision to go to Hebei Light Industry Technology school to study ceramics for three years. However, Fang Lijun did not want to stop his studies there. Instead of having an intellectual job in ceramics department, he prepared himself to take the entrance exam to enroll at the Central Academy of Fine Arts in Beijing.
At the beginning of 1992, Fang Lijun moved to Yuanmingyuan village in north-west Beijing.[5] Due to the economy and other difficult cultural issues, painters wanted to create a utopia where they could freely paint and express themselves. That was when Yuanmingyuan village drew artists' attention. At the time, painters like Fang Lijun had to face many obstacles and challenges, particular financial issues. Fang Lijun and other artists like him had paint for a living due to the economic pressure.
Fang Lijun made a large number of works featuring the subject "bald heads".[7] Under the influence of his family and friends, his art expresses the freedom, the integrity in two different settings: traditional and modern era, and the will of making a change.[8] He explained in an interview that he wished to send a message about the lives of painters through bald-head figures. The bald headed traditional Chinese men are viewed as dumb or stupid.[9] Through these figures, he is sending a message about morality and how people define what is normal based on physical appearance, rather than internal moral character. Fang Lijun values the individual stories of each person. He is asking the society to look at painters as normal people, as people who are making a change, rather than as eccentric outcasts.
In his paintings, he also uses elements of water and flower a lot. Water plays a big role in Fang Lijun's paintings. On an interview, he explained that water is helping him convey a message about his feeling and his voice about the truth and what is going in Chinese society.[10] His famous work with water is the guy being drowned in the water. Part of the reason for this paining relates to his childhood experience when he was almost drown.[11] The second and most important part relation about this painting is he is expressing his feelings about the Chinese society. When the guy is drown in the water, that guy is representing for painter like Fang Lijun.[12] He feels like he does not have a voice, that he is powerless in this societal structure and that he cannot even make his own decision or speak the right truth. Also, his hope is to freely go and move in the water metaphorically. He is hoping to be able to speak for himself, for other artists and to inspire everybody.
He is one of the artists who is standing in the middle line between traditional and modern practice. For example, he still follows the process of the carving wood with the negative image, coats it with ink and then impresses the image on the paper.[13] Because one art projects requires different color immersion, Fang uses different plates and a set order of printing on different adjoined scrolls. Each scroll represents for one individual against the mass which leads to "personal probity" in facing adversity.[14]
The earliest exhibition about the Cynical Realism was done by Fang Lijun and Liu Wei.[15] "Wanshi"-Cynical Realism which is translated into English is "cynical'. However, this English term cannot fully cover the whole meaning of the attachment of reality and life. The figures in Cynical Realism's paintings were cynical, distorted and accidental. In each of these painting, there is a sense of "self - mockery and ridiculous snippets of the surrounding circumstances".[16] Different metaphysical questions and searches were discarded by this Cynical Realism. Fang Lijun said: "The bastard can be duped a hundred times but he still falls for the same old trick. We'd rather be called losers , bores, basket cases, scoundrels, or airheads, than ever be cheated again".[17] Leading the Cyncial Realist movement after 1989, "Fang Lijan is considered one of the most important figures in Chinese contemporary art".
en.wikipedia.org/wiki/Fang_Lijun
www.saatchigallery.com/artists/fang_lijun.htm
Fang Lijun (1963- ) - 1996 No. 17 (Private Collection)
Woodblock prints and ink on 3 paper and fabric scrolls with wooden dowels; 244 x 366 cm.
Fang Lijun (born 1963, Handan, Hebei province, China) is an artist based in Beijing [1]. He was born into a wealthy family with a high social status. In the 1990s, there was a cultural movement[1] in China referred to as Cynical Realism of which Fang Lijun was a membe. Living in China during this critical time [2] shaped his worldview in terms of his views on art, human values and morality.
During his time at school, he met LiXianting (who would later be a famous critic) and was introduced to watercolors, oil paints and ink. Fang Lijun decided to leave high school to pursue his artistic dream. He made a decision to go to Hebei Light Industry Technology school to study ceramics for three years. However, Fang Lijun did not want to stop his studies there. Instead of having an intellectual job in ceramics department, he prepared himself to take the entrance exam to enroll at the Central Academy of Fine Arts in Beijing.
At the beginning of 1992, Fang Lijun moved to Yuanmingyuan village in north-west Beijing.[5] Due to the economy and other difficult cultural issues, painters wanted to create a utopia where they could freely paint and express themselves. That was when Yuanmingyuan village drew artists' attention. At the time, painters like Fang Lijun had to face many obstacles and challenges, particular financial issues. Fang Lijun and other artists like him had paint for a living due to the economic pressure.
Fang Lijun made a large number of works featuring the subject "bald heads".[7] Under the influence of his family and friends, his art expresses the freedom, the integrity in two different settings: traditional and modern era, and the will of making a change.[8] He explained in an interview that he wished to send a message about the lives of painters through bald-head figures. The bald headed traditional Chinese men are viewed as dumb or stupid.[9] Through these figures, he is sending a message about morality and how people define what is normal based on physical appearance, rather than internal moral character. Fang Lijun values the individual stories of each person. He is asking the society to look at painters as normal people, as people who are making a change, rather than as eccentric outcasts.
In his paintings, he also uses elements of water and flower a lot. Water plays a big role in Fang Lijun's paintings. On an interview, he explained that water is helping him convey a message about his feeling and his voice about the truth and what is going in Chinese society.[10] His famous work with water is the guy being drowned in the water. Part of the reason for this paining relates to his childhood experience when he was almost drown.[11] The second and most important part relation about this painting is he is expressing his feelings about the Chinese society. When the guy is drown in the water, that guy is representing for painter like Fang Lijun.[12] He feels like he does not have a voice, that he is powerless in this societal structure and that he cannot even make his own decision or speak the right truth. Also, his hope is to freely go and move in the water metaphorically. He is hoping to be able to speak for himself, for other artists and to inspire everybody.
He is one of the artists who is standing in the middle line between traditional and modern practice. For example, he still follows the process of the carving wood with the negative image, coats it with ink and then impresses the image on the paper.[13] Because one art projects requires different color immersion, Fang uses different plates and a set order of printing on different adjoined scrolls. Each scroll represents for one individual against the mass which leads to "personal probity" in facing adversity.[14]
The earliest exhibition about the Cynical Realism was done by Fang Lijun and Liu Wei.[15] "Wanshi"-Cynical Realism which is translated into English is "cynical'. However, this English term cannot fully cover the whole meaning of the attachment of reality and life. The figures in Cynical Realism's paintings were cynical, distorted and accidental. In each of these painting, there is a sense of "self - mockery and ridiculous snippets of the surrounding circumstances".[16] Different metaphysical questions and searches were discarded by this Cynical Realism. Fang Lijun said: "The bastard can be duped a hundred times but he still falls for the same old trick. We'd rather be called losers , bores, basket cases, scoundrels, or airheads, than ever be cheated again".[17] Leading the Cyncial Realist movement after 1989, "Fang Lijan is considered one of the most important figures in Chinese contemporary art".
en.wikipedia.org/wiki/Fang_Lijun
www.saatchigallery.com/artists/fang_lijun.htm