PROVENANCE:

Max Protech Gallery, New York

ILLUSTRATED:

Chinese Artists of Today: Fang Lijun Documentation Library of Today Art Museum, Hebei Education Press, Hebei, China, 2006, color illustrated, p. 415


This painting is to be sold with a certificate of authenticity issued by Max Protetch Gallery, New York.

Fang Lijun is one of the major leaders of the Cynical Realist movement which was born after the traumatic events of 1989. He was born in 1963 in Hebei Province and after the Cultural Revolution he studied the ancient Chinese art of print making at the Central Institute of Fine Arts. While recognized as a master in woodblock printing, he has become a household name for his unrelenting portrayal of the disenchantment and disillusionment of the youth of China post-1989 both in his prints and his paintings.

1989 was a watershed year in China's modern history, and particularly for the avant garde art world. With China's opening to the world in the 1970s artists of Fang's generation had their first exposure to Western art. They were initially mesmerized at the possibilities of expression, especially as during the Cultural Revolution they were forced to paint only Socialist Realist propaganda posters. Coming together primarily in Beijing, there was a great sense of community, idealism and hope in the art world. However, these were shattered by two events. The first exhibition of avant garde art was held at the National Art Museum of China in Beijing in 1989. This was the first official recognition of modern art and the first acceptance for the New Wave artists. The Exhibition was closed down on its first day after one artist fired a gun at her installation. The authorities became reactionary and warned artists that works criticizing the government or society would not be tolerated. The events of Tiananmen Square were to be the final nail in the coffin for the art world. Many artists passionately supported the democratic movement and they along with society were appalled at the events which unfolded. Ten years of unbridled optimism and idealism had come to an end.

Fang Lijun along with the rest of the art world retreated into a silence and isolation which was to last two years. Artists were being watched and it was dangerous for them to associate with each other. During the silence, they brooded and contemplated and slowly in the early 1990s new art movements began to emerge. Fang was to be the main protagonist in one of the most important of these movements Cynical Realism, a new, cold, detached and ironical view of society. The bald headed youth of his paintings has become an iconic image of the Chinese contemporary art world, and a symbol of disillusionment, mockery and rebellion, the prevailing moods after the events of 1989.

Fang's bald headed youth is invariably depicted in an aggressive way often with a lost or oblivious look on his face. Often there are multiple representations of the youth, as if representing the de-personified, manipulated masses of the repressed as they suffer in their angst and disquietude. It seems that Fang, is exploring the plight of the individual in a meaningless and uncaring system.

Fang's painting is deeply expressive and he conveys his meaning not just in his angst ridden youth, but also in his painting style. At first glance his works seem to follow the flat style of pop art with strong primary colors. But on closer inspection the faces of his youth, are depicted with great use of light and shadow heightening and adding to their disenchantment. Fang, also often depicts the background, clouds, sky, or sea in a hyper-realistic and detailed way. Clearly the ability to render these details so expertly comes from his mastery of woodblock printing.

Fang Lijun is one of the most recognized and most appreciated contemporary Chinese artists. He has held many solo exhibitions in Europe, the USA and Japan and his works are often included in group exhibitions such as at The 48th Venice Biennale in 1999. His works are in the permanent collections of major museums worldwide such as the Museum of Contemporary Art, Tokyo, the San Francisco Museum of Modern Art, the Shanghai Art Museum and the Singapore Art Museum. One of the most famous images of Chinese contemporary art, is from his painting "November 2, 1992", in the Ludwig Museum in Cologne, Germany.

Our present lot "2001.7.31", is a major Fang Lijun piece. The large face of the main protagonist dominates the lower center of the picture. The face seems to have a serene and calm expression as the light from the sun bathes it in a soft warm glow. However, the painting in contrast to this serenity is loudly proclaiming turmoil and disturbance. The cast of characters in the lower half of the picture is strongly reminiscent of Western scenes of hell where the condemned plead and beg for mercy from a detached and uncaring god. But as usual with Fang, it's not clear-cut exactly what the actions of his characters are. Are they begging for mercy, or are they in fact worshipping? It is this contrast and ambiguity which brings so much appeal to Fang's paintings. The faces look very disturbed and anxious, yet they are also bathed in the soft, warm light. The sense of turmoil is further added to by the menacing, and threatening sky. It seems as if a storm is about to break lose. It's almost as if the funneling tempestuous cloud will devour the supplicants.

Fang Lijun has achieved his fame for portraying the true psychological state of the Chinese youth post-1989. His ability to portray characters that can seem both serene and calm as they mindlessly obey the authorities, and at the same time are crying out in pain and anguish have assured him of his place with the giants of contemporary Chinese art. His portrayal of his bald headed youth seems to be saying that the only way to experience calmness and peace is to rely on yourself as an individual, and not in mindlessly following dictates from an uncaring authority.