Chi­nese Amer­i­cans,

Pasatiempo - - LISTEN UP -

war­riors more typ­i­cal of an­tique pieces. The work in­ter­locks ten­sions be­tween art and com­merce, as well as be­tween what is specif­i­cally Chi­nese and what is un­abashedly glob­al­ized. The blue-and-white aes­thetic is also put to use by Wan Liya in his Thou­sands of Kilo­me­ters of

Land­scape, a glazed porce­lain as­sem­blage from 2011. The piece com­prises 21 sep­a­rate ves­sels, all crowded to­gether into a sin­gle line. But where his­toric pieces would ad­here to a rel­a­tively lim­ited reper­toire of jars and pots, Wan Liya’s con­tain­ers take modern forms: soda can, soap pump, milk car­ton, Win­dex sprayer, and so on. A sim­i­lar dis­place­ment in­hab­its Taikkun Li’s 2009 Blue and White Coca Cola Bot­tle with Moun­tain­scape .A cap­tion of­fers his ex­pla­na­tion: “The sutra ‘Empti­ness is the form, form is the empti­ness,’ has been in­spir­ing me to think about hand­i­craft art as my ‘ve­hi­cle’ to tran­scend con­cep­tual art. If I tell you, this work is not hand­i­craft, this is ac­tu­ally John Cage’s body, land­scape paint­ing is his ‘chi’ or ‘en­ergy,’ how will you feel? Coke as the 20th cen­tury’s most pop­u­lar bev­er­age is my fa­vorite sym­bol to ex­press plea­sure and op­ti­mism, and that’s my salute to Andy Warhol.” The most im­pos­ing ex­am­ple of in­ter­cul­tural com­mer­cial fer­til­iza­tion is

Temp­ta­tion — Life of Goods No. 2, a 2010 en­try in the Eden se­ries of Sin-ying Ho, a Hong Kong na­tive now re­sid­ing in New York who gives a gallery talk at the mu­seum on Sept. 15. The pot is taller than she is. “The size of the ves­sel is a ref­er­ence to the hu­man form,” she writes. “I be­gan treat­ing the sur­faces with hand painted cobalt pig­ment, tra­di­tional Chi­nese Flow­ers paint­ing in­te­grated with a sil­hou­ette of ‘Adam and Eve’ as a ref­er­ence to Re­nais­sance paint­ings. In­side the sil­hou­ette of ‘Adam and Eve’ are the sym­bols, signs, charts and lan­guage of the free mar­ket, trac­ing com­plex hu­man traits of greed, ma­te­ri­al­is­tic de­sires, hopes and tech­no­log­i­cal trans­for­ma­tions.” In­deed, close in­spec­tion of what at first ap­pear to be abstracted dec­o­ra­tive red medal­lions re­veals that they are ac­tu­ally brand lo­gos: MasterCard, Star­bucks, Chanel, Dis­ney, Nike, and oth­ers. She con­tin­ues: “Ref­er­enc­ing my own his­tory be­ing a Hong Kong Chi­nese in New York, Eden speaks to the po­tent na­ture of these cross-cul­tural in­ter­sec­tions and hopes that these col­li­sions bear mean­ing­ful fruit.”

Li Li­hong: McDon­ald’s, Go­rilla

Com­ing From the Moun­tain, 2007, cour­tesy Dai Ichi Arts; right, Taikkun Li: Blue and White Coca Cola Bot­tle with Moun­tain­scape, 2009, cour­tesy Pagoda Red

Newspapers in English

Newspapers from USA

© PressReader. All rights reserved.