|International Art Scene II||Table of Contents|
De La Sculpture
Art Scene I
International Art Scene II
International Art Scene III
September 15~November 14,1999
Venue: Avenue Des Ch(ps) Elysees
Sokari Douglas Camp
Mohamed El Baz
Ravinder Singh Jamwal
et Frederic Migayrou
Nam June Paik
Anne et Patrick Poirier
400 x 200 x 260 cm
Pret de l'artiste.
Remerciements a la galerie Zurcher, Paris.
Wang Keping is one of the founders of the non-conformist artists' group Xing-Xing (Stars), created in Beijing in 1979. He and other members of the group have only recently returned to teach in art schools in Beijing. For "Champs de la Scupture 2000," the artist created a monumental group of eight figures in two rows, back to back, sculpted using a single piese according to chan principles (the Chinese equivalent of Japanese zen). Their highly simple form uses the natural lines of the wood's knots, streaks and formations.
Wang Keping respects the essence of the material in giving his figures life. This is why their limbs are truncated and their faces blind, at times pierced by a hole that is more evocative of a scream than the contours of a mouth.
This sculpted group, which is an allusion to Rodin's Burghers of Calais, designates a few anonymous Chinese people and commemorates them as victims of political doublespeak.
Sui Jinguo began working in factories at 16, became interested in art and attended night classes. He then worked at the regional cultural center and organized artistic training programs for workers. By the end of the 1980s, his works were inpregnated with the radicalism then in vogue. After the Tienanmen Square tragedy in 1989, his work became more influenced by Taoism, its tendency toward aestheticism, and its striving for formal and technical perfection. His first stone work, inspired by the cement structures with steel rods jutting out found on construction sites, evoked the oppression rampant in Chinese society at the time. The Legacy Mantle series mards a purely formal turning point; the human being remains the artist's main subject. The figurative Legacy Mantles show man as a product of his culture. At first a symbol of modernity, the Mao jacket became emblematic of the rigidity of the cultural dictatorship after the Cultural Revolution. The title refers to the priests' robes handed down from generation to generation.