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Tag: Ai Weiwei
Profound sense of loss and disillusionment (December 22 2012) Profound sense of loss and disillusionment (December 22 2012)

Yue Minjun the 50 year old Chinese contemporary artist best known for oil paintings depicting himself in various settings, frozen in laughter as a sort of logo that can be attached to any setting to add value, has been profiled by Nazanin Lankarani in a New York Times article titled ‘The Many Faces of Yue Minjun’. Lankarani states “…The notion of risk is well known in China, where artists can be subject to state censorship in various forms. Recent widely-reported examples include the artists Ai Weiwei, who has faced accusations of crimes ranging from tax evasion to bigamy and pornography, and Zhang Huan, whose 2008 show at the Shanghai Art Museum was canceled in 2008 by local authorities, with no reason given. A prolific painter since the early 1990s, Mr. Yue, 50, belongs to the generation of artists marked by what he calls a “profound sense of loss and disillusionment” after the crackdown at Tiananmen Square in 1989, in which popular demonstrations culminated in the massacre of protesters. “I feel that those years enabled us to find a new energy,” Mr. Yue said in a conversation in July with a friend, Shen Zhong, included in the catalog of the Paris show. “We discovered that the ideas and assumptions we had about a lot of things were no longer credible.” For the artists who chose to stay in China after 1989, the Cynical Realism movement, which Mr. Yue joined, was a possible path to express their experience in post-Tiananmen Chinese society. “Those who stayed experimented with a new iconography lush with signs of a disenchantment in confronting their society and assessing their own status,” said Grazia Quaroni, a curator at the Fondation Cartier. But, she added, “30 years later, Yue Minjun’s work exudes a sense of melancholy rather than cynicism.”


Inspired by Nazanin Lankarani image source Facebook

Ai Weiwei aged 53 the renown Chinese artist has encountered health and safety concerns with his work “Sunflower Seeds,” currently exhibited at the Turbine Hall at the Tate Modern. The Tate in consultation with Ai Weiwei have decided to close visitor’s physical interaction with the work due to dust that was stirred. The piece comprises approximately 100 million hand-painted black and white porcelain sunflower seeds spread throughout the Turbine Hall some 100mm deep.  The shells crackle when walked on, having been designed for tactility and the interaction from visitors. Visitors view a gray expanse from the bridge that spans the Turbine Hall one floor up, experienced now only from behind ropes.

Political Arts | Ian Bunn Visual Artist

My digital art work is essentially politics and art. It’s about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work is essentially popular culture arts, diverging from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

This digital photo manipulation art work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Popular Culture through an artistic and conceptual exploration of specific people and events of the day.

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