Yang Jiechang: The Whip

China Pictorial (English) - - Culture On Display -

Con­tem­po­rary Chi­nese artist Yang Jiechang has es­tab­lished him­self as a uniquely provoca­tive fig­ure—de­spite sta­tus as an ex­pa­tri­ate for nearly thirty years, he has re­mained deeply im­mersed in Chi­nese cul­tural and artis­tic tra­di­tions. Fully cog­nizant of the dis­tinc­tive­ness of his po­si­tion, he com­mented, “I keep dis­tance from con­ven­tions of proper fig­u­ra­tive tech­niques re­lated to re­al­ism and glob­al­iza­tion, but I also avoid rush­ing head-first into the an­cient con­ven­tions of ab­stract and con­cep­tual cal­lig­ra­phy. That is why I think my art is very par­tic­u­lar to both China and the West.” Septem­ber 7 – Oc­to­ber 17, 2017 Cham­bers Fine Art, New York

In 1993, Li Shan shifted the fo­cus of his decades-long ca­reer in paint­ing to top­ics re­lated to bi­ol­ogy. He claimed to be mak­ing forms once re­served for God, and cre­ated a new artis­tic dis­ci­pline: Bioart. It all started with Li’s long-time fas­ci­na­tion with the ex­is­tence of life, ex­plo­rations of the bi­o­log­i­cal code re­sult­ing in com­plete life­forms, and ad­vo­cacy for equal­ity and uni­for­mity be­tween dif­fer­ent life­forms and species. This ex­hi­bi­tion fo­cuses on Li Shan’s Bioart-themed projects, which are firsts in China. Of the pieces on dis­play, two in­volve liv­ing or­gan­isms and the rest are plans, sketches, draw­ings and doc­u­ments about his Bioart projects. Au­gust 26 – Novem­ber 26, 2017 Power Sta­tion of Art, Shang­hai

Golden Moun­tain by Yang Jiechang, ink and color on silk, 3 pan­els, 142×111 cm, 142×280 cm, 142×111 cm, 2012-2017.

Li Shan No. 100 by Li Shan, 2012.

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