Chinese contemporary art: Lure of the young

The Jakarta Post ,  Jakarta   |  Fri, 10/22/2004 11:10 AM  |  Life

Carla Bianpoen, Contributor, Jakarta

While Chinese contemporary art made a huge impression on the international art scene in the early to mid-1990s, it was not until early 2003 that the first exhibition of note was held in Indonesia, to be followed by four world-renowned artists taking part in the Jakarta CP Open Biennale later in the year.

Today, China's art scene is developing at a rapid pace. Edwin Gallery seems to understand the signs of the time.

The gallery is now presenting the work of two young Chinese painters, which bear witness to a maturity of skill, depth of thought and vitality to explore. A myriad of styles is the result, with the influence of international artists of repute evident here and there.

While both artists seek to redefine life in a changing world, the work of 28-year-old Tan-Shu -- who was born in Shanghai -- appears to evolve from the gloom of a society in which individuals had lost direction, to a place of bliss.

Perhaps it is human nature, Tan Shu says, to always desire more and strive for the best in life, but the result is unhappiness. Little do people realize that happiness is within them; to enjoy a cup of tea, for instance, could be a blissful experience.

Gloom and unhappiness mark the figures on his canvases before 2001, whether nude or dressed. In a 320 cm by 150 cm painting made in 1999 and titled The Sun Has not Grown Up, solemn figures stand as if doubting Chairman Mao's oft-stated words to the young: ""You are the sun in the early morning, the future is yours, hope is yours and the world is yours"".

In 2001, however, he began to count his blessings, enjoying every simple act -- even dipping his head into the washbasin was a blessing.

A painting titled Besotted shows an enlarged upper body and face that has an indulgent expression. He even gives a man a pair of wings in Butterfly Man. `

Flying Horse in the Dark, however, denotes his inner struggle through figures floating in space, as in Weightless and Mayfly. Where Are We Going, is the title of a painting that reflects his state of mind.

His choice of unusual colors underlines a sense of optimism. This is particularly evident in the blue that serves as a background for a whitewashed figure in Blowing Away, which is tempered with profound stillness.

The work of 43-year-old Zhong Shan, who was born in the vicinity of Beijing but now resides in Shanghai, shows equally deep feelings in the face of societal change.

Profuse alienation marks the sickly faces of Pretty Woman 3, 4 and 5, in a scene representing card or mahjong players, who look up from the intensity of their game only when a pretty woman enters the room.

But she is nowhere to be seen on the canvas. His female nudes in Nice Lake Supper and Bing Bang' do not arouse excitement. Instead, they show naked women going about their activities: preparing a meal in a resort hotel, looking through a telescope, or holding a weapon ready to shoot -- if need be.

Zhong Shan states that there are two sides to Chinese society, one may be dark but the other is light, fun and full of humor. This is shown in his painting titled Sunshine Square, depicting children amusing themselves against the dark sky of 1995, and Inside Orthopedics, showing a laughing patient who is being treated by his physician.

Zhong-Shan's works are marked by the yin-yang concept, which produces all that comes to be, as the bright and dark faces of all things.

In this sense, technological advancements and the use of computers are a great phenomenon to the artist.

Yet, the wrinkled face of a man in `Interference' holding a technologically advanced gadget in his hand, and the Microsoft word symbol appearing to fly out of his critical eye in Interference show the other side of the coin.

All Thriving shows a man seated on a chair positioned in the sky, and looking down on life as it evolves on earth. Behind the seat appears Chairman Mao, albeit in miniature, with personalities who may have been the VIPs of the time: Society in transition, global trends confusing values of the past.

In Wind 1, a person holds a red book containing the sayings of Chairman Mao, a book that was part of everyone's life. In the background, an atomic bomb explodes, a reference to China's experiments in this field.

The artist says that important events, which may be felt as all-important at the time of their happening, vanish into thin air, blown by the winds of time.

But as philosophical as his works may be, the artist, who remains imbued with certain concepts of his roots, steps forward on the path of exploration, using multi-media like gluing X-Ray films on his oil paintings and setting them on a light box. ""I want to be free"", he says in self-portraits depicting himself in free-fall positions.

If these two artists are a good example, then we may rest assured that we can expect even more Chinese art by a young generation confronting the world.

Human Landscape Exhibition of Two Young Chinese Artists Oct. 20 through Oct. 29, 2004 Edwin's Gallery, Jl. Kemang Raya 21, Kemang, South Jakarta Tel. 7194721, 71790049

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