Date: 12-16 January, 2011
Place: Singapore Marina Bay Sands Exhibition&Convention Centre
Chen Yujun, Qiu Anxiong, Qiu Xiaofei, Song Kun, Yang Xinguang
Boers-Li Gallery will participate in the Art Stage Singapore, 12-16 January, 2011，booth number E3-05. The gallery presentation include the following Chinese artists:
Chen Yujun was born in Putian of Fujian province in 1976, a biographical detail important to his position as a contemporary artist working in issues of migration and identity. The most basic motivation of his work comes from the culture of the Central Min diaspora, which describes a seventh-century movement of central Chinese culture to the southeast (Fujian) under pressure of Mongolian incursions from the north. A branch of his family, themselves descendants of ancient and still recognizable central Chinese culture, further emigrated to the Southeast Asian nations of Indonesia, the Philippines, and Malaysia in the early 20th century.
Many of Chen Yujun works are concerned with this lineage and the living environments of that alien territory. As young critic Lu Mingjun has described, this form of mental memory and life experience creates in his artistic practice a distinct anthropological aesthetic: for Chen Yujun, the foreign lands of the South Sea, as Southeast Asia is known colloquially, represent a space of possibility or experience of the unknown, and it is the communication of this experience that becomes the original intention of his work. In Hangzhou, where he works, many of his projects deal with the lineages and still-decipherable identities which characterize that scattered and unknown territory.
Qiu Anxiong, born 1972, works in a large variety of media: paintings, drawings, prints, animations, and video installations. His work is strongly influenced by classical Chinese philosophy as well as Chinese ink painting, which he interprets through his formal European
training as a hybrid practice that bridges styles across history and geography. His most significant landmark works are his painted animation landscapes populated by creatures derived from sources as varied as ancient Chinese mythology and controversies over genetic alteration, creating a universe faced with social and environmental problems resembling those of our contemporary moment.
Qiu Xiaofei, born 1977, his artistic practice, which includes oil and watercolor painting, three-dimensional painting-sculpture, and installation, uniquely articulates the relationship between concept and aesthetics. His early work is largely concerned with the relationship between memory and history, the subjective nature of lived experience, the whimsical qualities of childhood, and the role of materiality in perception; his most recent work contemplates the power relations of art history, the theorization of the spectacle, and the work of the basic psychoanalytic apparatuses.His paintings recall a dreamlike and blurry state of memory that bears only an impressionistic relationship to reality.
Song Kun, born 1977, hailed as one of the most promising young female artists of her generation, examines in her works the minutiae of daily existence. She works within a surrealistic dreamscape derived in equal parts from her life as a young woman in changing urban China and the imagined fantasies that grow out of it. She portrays an inherently individual perspective by collecting the concerns, fears, desires, growth, happiness, and confusion of daily life: the fleeting, innermost feelings of her generation. Revealing in this respect is the series of portraits shown this year at the Armory Show, the meaning of which lies in their description of both the physical and the emotional aspects of the human expression; they represent, perhaps, a sugar-coated protest against contemporary life.
Yang Xinguang, a Beijing-based artist born in Hunan province in 1980. Through his participation in a series of group exhibitions across China, he has earned a reputation as one of the strongest exemplars of a reemerging sculptural sense among the younger generations of artists in China. Occupying a unique role in the dialectic of contemporary art history, Yang Xinguang steps back from both descriptive work on everyday life and protest work in the realm of politics. Instead, his introspective works recall the discourses of both American minimalist sculpture in terms of their phenomenological relationship with the body of the spectator and arte povera in terms of their openness towards material and space.Yang Xinguang’s works often involve wood, earth, and stone as their primary materials. Despite the process-oriented nature of their production, the emphasis remains on a final, finished product (although one differentiated from a unitary commodity); that is to say, all marks of production remain with the piece itself.
For more information on the coming exhibition, please feel free to contact us.