To celebrate the opening of the 2012 Shenzhen Sculpture Biennale, which opened last Saturday, all this week I’ll be posting texts that I wrote for the catalogue of said exhibition. In this last piece, the sixth that was included in the catalogue, I address Wang Luyan’s Walking Man which I feel expresses many of the ambiguities found throughout this artist’s work. Thanks for your attention, I hope these pieces have been interesting for you.
Wang Luyan, Gu Dexin and Chen Shaoping’s founding of the New Measurement Group (NMG) (active from 1988–1995) represented a choice to focus their work on rule-based activities that reduced the mark of the individual to a minimum, if not removing it entirely. Wang’s own works to a certain extent also followed this way of thinking and working, but retained a marked stylistic quality that is clearly his own. At the time NMG’s approach and Wang’s work represented a position in contrast to the supposedly illogical, irrational art of what became known as Political Pop. The group’s interest in “logical” forms of presentation and the concepts that they illustrate (sometimes referred to as “rationalist”) become illustrated forms in Wang’s sharply delineated paintings, toying with barely suppressed paradoxes.
If anyone has a copy of this report, I would be very interested in taking a look (I might even cook you dinner). It would be fascinating to know what their criteria are for measuring “sentiment.” The report appears to look at a good range of artists1, so each one’s comparative results would be interesting to see. I’ve been hearing (mainly from auction results, so that’s pretty selective) that established names are recovering quickly, but the market for younger, less established artists is struggling (as one would expect). Most people I’ve talked to about this subject see these periodic downturns as, by and large, a “good” thing. I’m not denying the pain involved, but it’s a time in which everyone is forced to re-focus on their core strengths and if these aren’t sustainable then, perhaps, it’s time to move on.
The confidence in the Chinese Contemporary art market has strengthened significantly since February 2009, and is now back above the 50 level. The ArtTactic Confidence Indicator has increased from 16 in February 2009, to 57 in November 2009. The current level signals that there is more positive than negative sentiment in the art market. This is the first contemporary art market that ArtTactic has surveyed since the downturn, in which the Confidence Indicator has come in above the 50 level, which implies that the Chinese art market could be one of the quickest to recover.2
Ai Weiwei, Cai Guoqiang, Cao Fei, Chen Wenbo, Fang Lijun, Feng Mengbo, Feng Zhengjie, Gu Dexin, Gu Wenda, He Duoling, He Yunchang, Hong Hao, Li Shan, Li Songsong, Liang Shaoji, Lin Tianmiao, Ling Jian, Liu Wei (B. 1972), Liu Xiaodong, Liu Ye, Lv Shenzhong, Mao Yan, Nie Mu, Qiu Zhijie, Shi Jinsong, Song Dong, Sui Jianguo, Tan Ping, Wang Gongxin, Wang Guangyi, Wang Jianwei, Wang Qingsong, Wang Wei, Wang Xingwei, Wu Shanzhuan, Xu Bing, Xu Zhen, Yang Fudong, Yang Shaobin, Yin Xiuzhen, Yu Hong, Yue Minjun, Zeng Fanzhi, Zhan Wang, Zhang Dali, Zhang Huan, Zhang Peili, Zhang Xiaogang, Zhong Biao, Zhou Tiehai, Zhou Xiaohu.