Fang Lijun- Documenting the Chronicles of Times

During March this year, The Museum of Contemporary Arts, Singapore (MOCA), exhibited Chinese Contemporary Master Fang Lijun's Solo Exhibition 'Documenta'. More than twenty years since the beginning of the 'Cynical Realism' Art movement in Chinese Contemporary Art, Fang Lijun had indeed, came a long way.

Fang Lijun was born in 1983, Handan, Hebei province in China. During his childhood days, he attended the Children Cultural Place School where he met Li Xianting, now a renowned art critic, and was introduced by him to the exciting world of Art. From there, Fang Lijun decided to leave high school to pursue his artistic dream and did not turn back ever since.

Upon entering the prestigious Central Academy of Fine Art in Beijing, he first studied porcelain painting and woodcut techniques before switching to paintings. At the Academy he accessed international publications and familiarized himself with Western art history and contemporary art criticism, providing a strong guidance and foundation in the execution of his works later on.

Fang Lijun's 'No.6' sold at Sotheby's New York
 at a whopping USD 4.07 million

'I sold my very first painting in the early 90s. I can't remember if it was a Japanese or a Caucasian buyer. Life was very hard then, I lived in a small place and did not had enough to eat. A
friend brought his foreign friend to visit me, he was very sympathetic about my situation so he bought a painting at RMB 140. I used that and exchanged for some food vouchers.' Fang Lijun laughed as he recalled.

Unknown to this stranger, his simple act of kindness could result in a huge return. Today, Fang Lijun's works are market valued at anywhere between USD 500,000 to a few million dollars. During the Sotheby's New York 2007 auction, Fang Lijun's 'No.6' piece sold for a record price at USD 4 million. A smaller piece sold in Christie's Hong Kong last year also skyrocketed to USD 2.8 million.

Fang Lijun's 1990 - 1991 series
sold at Christie's Hong Kong in 2011
at USD 2.8 million

Fang Lijun's works features his distinctive 'bald heads' symbolizing the powerless individual and the passiveness of the masses during the cultural revolution period. The subject drowns in the masses and leads also to a struggle for survival in different backgrounds, sometimes an ominous sky or a swirl of deep waters.

Fang Lijun with YANG GALLERY Singapore
& Beijing's Managing Director, Ms.
Susanna Yang

 In 2007, Fang Lijun was the major guest-of-honor at the 'Investing in Chinese Contemporary Art Seminar' organized by YANG GALLERY Singapore & Channel News Asia, an leading News media.

In many ways, Fang Lijun is consistently climbing forward, not only are his works are fetching high prices in the auction market, he is also the proud owner of several well-regarded restaurants in Beijing. Critics say his works are now a reflection of the gilded age in China- perhaps another sign of the times: the young, naughty, disinterested and lost soul has finally found himself in the clouds.

Fang Lijun's way of life follows the course of his interest, and yet in some ways it defines and chronicles the times.

(from left): Fang Lijun, Poly Auction Ltd, Beijing Director Zhao Xu,
Indonesian Chinese Contemporary Art collector, Singapore
Chinese Contemporary Art Collector, Mr. Woon
Tai Ho, previous president of Channel News Asia

Investing in Chinese Contemporary Art- Tips to Getting Involved in the Chinese Art Craze

The Chinese Contemporary Art market accounted for one-third of global fine-art sales exceeding $3 billion last year alone, according to reports by Artprice, a leading French-based art information company.

'Execution' by Yue Minjun, 1995. Sold at Sotheby's
12th October 2007 London auction for nearly $6 million.

Statistics shown by the company reveal that several Chinese artists ranked in the top 10 worldwide in terms of auction revenue in 2010: Qi Baishi, Zhang Daqian, Xu Beihong and Fu Baoshi. Not forgetting living Chinese Masters such as Zhang Xiaogang, Yue Minjun, Cai Guoqiang and Wang Guangyi, commonly referred to as the Four Heavenly Kings; have commanded consistent sky-high prices in auctions worldwide to date. Indeed, Chinese Contemporary Art has taken the art world by storm.

'Bloodline: Big Family no. 1' by Zhang
Xiaogang sold at USD 8.4 million during
Sotheby's Hong Kong auction, 3rd October
2011

Over the past decade, the market for Chinese Contemporary Art experienced enormous growth and is the most sought-after form of contemporary art in the world. The reason being that the Chinese Contemporary Art market not only does not show any signs of slowing down, its actually still growing due to the market for Chinese Contemporary art is extremely strong in many art communities since it started. The fact that China's economy has been relatively unaffected by the global recession and personal wealth within China is growing rapidly also contributes to Chinese Contemporary art being highly sought after; with Chinese investment banks to private collectors taking their slice of the pie and placing it in a state of 'supply more than demand'. In fact, contemporary art experts are forecasting the market to continue its growth for the next ten years.

So, How Do I Get Started? 

According to Judith Neilson, personal connection with the artwork is key. As the founder of the nonprofit White Rabbit Museum in Sydney, Australia, one of the largest private collections of Chinese Contemporary Art, Neilson strongly suggests to buy works that you fell in love with. Try understanding the background of the artist and his concept will also help you 'relate' better to the artwork. A recognized artist is often a safe and sound investment, alternatively, you can also buy from a young-promising artist who's works are likely to become more popular- thus increasing in value. Although it could be more risky, this goes for all kinds of investments, not only for Art.

Where To Buy

Beginner collectors may feel that auction houses provide greater price transparency and bidders seem generally reassured by the presence of other bidders. However, prices can be extremely competitive in auctions due to several factors such as the high bidding season, the particular series of the works as well as the provenance of each piece, as they could very well be generated through from a second or even a third personnel. You could however, do your homework from auctions, focusing on a specific pattern instead of one particular result.

Just Ask

During Art-scouting, don't be afraid to ask questions. An reputable Art dealer will be able to provide helpful pointers as well as a basic assessment on the investment-potential of the artwork to guide you along. If you are attracted to a series from an artist, it is likely that this artist will probably be one whose work you would enjoy collecting. Also, always request to view the actual pieces before you purchase.

No doubt, the Chinese Contemporary Art trend will continue. Any bubble that built up in the industry before the global equity crash had passed, hinting at a room for further increase in value in the very near future. If you see something you like, don't dally. Prices are rising as you wait.

Chinese Contemporary Art New Arrivals at YANG GALLERY Singapore!

Dear Valued Clients,

YANG GALLERY Singapore is proud to present the latest exciting Chinese Contemporary Art selections in the gallery!

We look forward to be of service to you on your interests and to see you in the gallery soon!

For more info: www.yanggallery.com.sg or contact us at: spore@yanggallery.com.sg / +65 6721 8888

                                                  
Liu Wei, 1974, Nantong Jiangsu, China

When viewing Liu Wei's works from the front for the first time, it is hard to understand since we are used to viewing and understanding something from the 'front'.

 In fact, Liu Wei expresses his thoughts in another way in his works. From the side of these pieces you will find some historical politicians, movie stars and living scene. It is surprising that they are so clear when you view them from the side and not from the front like we're used to.  

                                      

      
Liu Liguo, 1961, Heilongjiang, China 

Liu Liguo is an example of the Chinese style we call 'Gaudy Art'. The substance in Liu Liguo's works are a reflection on consumer society. Whether its a sculpture or a painting, everything is materially opulent, dripping with sensuality and abundance.

 YANG GALLERY Beijing is proud to present Liu Liguo's Solo Exhibition 'Trafficking Imagination' from the 27th April - 18th May 2012.

 For more details on the exhibited works click HERE

 Ren Zhe, 1983  

Ren Zhe's sculptures showcase his deep regard for the Chinese culture. Seemingly traditional, his concept is in fact closely related to the essence of contemporary art.

Ren Zhe does not strive to create a sense of realism; but instead, focusing on the characteristic pose of a movement to give an aura of heroic grandeur.

Ma Jun, 1974, Qingdao, Shandong Province, China  

Ma Jun is one of the most recognized Chinese Contemporary sculptors who specializes in the ceramics medium.

Each of Ma Jun's sculptures are completely covered in traditional Qing flower patterns, birds, dragons and daily sceneries. He makes no reference to modern brand signage, but instead imprints the pieces with symbols that denote their imagined official' ancestral origins during the ancient China ruling. His way of reference to the dynamic past serves as a concept of rich cultural and historical tradition. 

Yan Zhixiong, 1979, Hunan, China 

Yan Zhixiong has achieved China's highest individual photography award the 'Chinese Gold' and was also awarded the 'Portrait Photography Gold Medal' in the
prestigious China Photographic Art Exhibition.

Involving in documentary, portrait, fashion, advertising, conceptual photography and installation images, his works have already won more than 70 awards in various photography competitions in China, Austria, Ukraine, France, Belgium, Hong Kong & Macau.

Wu Rigen, Inner Mongolia, China  

Wu Rigen's works are widely collected by acclaimed contemporary art museums and institutions such as Beijing Huantie Art Museum and the Royal Danish Academy of Fine Arts. 

'Crossroads' is one of his most iconic works. A sheep is portrayed wandering at the 'crossroad', representing the schizophrenia of postmodern man and revealing the human fate of eternal return. By using the rhetoric of duality, Wu Rigen formally presents the 'rib of life'. 

Luo Brothers- 'Welcome Welcome!' An Introduction to Their Works

Luo Weidong, 1963
Luo Weiguo, 1964
Luo Weibing, 1972

Born in Nanning, southern province of Guangxi, China, they graduated from the Guangxi Academy of Art, the Guangzhou Academy of Fine Art and the Central Academy of Applied Arts respectively. The Luo Brothers have been living in Beijing since 1986, where they all work together.

Famous for creating iconic works from the oriental side of nature that loves bright lights and red lanterns adorning every restaurant and city during festive times, the Luo Brothers' works are in effect a conglomeration of what makes up the modern Chinese society today.

 For the latest available Luo Brothers works click here or contact us at: spore@yanggallery.com.sg / +65 6721 8888
 
In their series 'Welcome Welcome!', most of the world's foreign consumer products have been held aloft by a Luo Brothers bouncing baby. When one thinks about it, the same mix can be found in other cultures around the world. However, whats so different and unique about the Chinese experience is the way it had happened so quickly. In the span of thirty years since the death of Chairman Mao, China had gone from a uniformly colorless society to one that makes our eyes and ears ache with the daily assaults of colors, lights and noise.... The Luo Brothers' works are a successful reflection to this explosion of vitality.

The cynic says this is a corruption of tradition, the corruption of things made serious by vile consumerism. They may have a point, there is certainly a lack of spirituality in the sugar and fat enriched cupcake-lands of the Luo Brothers' bouncy babies, but we must not forget that to many this is infinitely preferable compared to the drab and uni-colored 'Red (era)'. These works are fun, their visions very much embrace the 'new' China and they revel in it. Through the Luo Brothers' works, we are shown the exuberant and merry mature of choice in its truest form.

The Luo Brothers, renowned art critic and 'godfather' of Chinese Contemporary art Li Xianting, local art media and YANG GALLERY staffs during Luo Brothers' Solo Exhibition 'Welcome Welcome!' at YANG GALLERY Beijing 798 

Specializing in various media such as Oil on Canvas, Wood Carving, Watercolors & Ink on Paper, Lacquer on Wood, Embroidery and Ceramic, Fiberglass & Bronze sculptures,  the Luo Brothers' works are the powerful iconic representations of the elaborate 'Gaudy Art' style in Chinese Contemporary Art.

The Luo Brothers Public Collections:

Denver Art Museum

Fukuoka Art Museum

San Francisco Museum of Modern Art

Fondation Cartier pour l'Art Contemporain

Guy & Myriam Ullens, the Ullens collection

The Uli Sigg collection

The Kent & Vicki collection

Pan Dehai- An Introduction to His Latest Series: '1956 - 1976'

Pan Dehai, 1956, born in Si Ping City, Jilin province,  China
Graduated from the Fine Art Department of the Northeast Normal University in Changchun in 1982.

  Over the past twenty years, established Chinese Contemporary artist Pan Dehai had been widely known for creating the image of the 'Corn Men' in his works. And for artists who were active in the 1980s, Pan Dehai's name is also associated with an influential group of artists in the history of Chinese Contemporary Art, that is in 'Southwestern Art Group', which came into being after the 'New Age' Exhibition in China.

  For Pan Dehai, an artist who is set to explore the passions of life and the questions in essence, his works judges these aspects from a special perspective, helping us to understand this world more truthfully and get to know ourselves better. In form, the 'Corn Men' are a synonym of affluent materialistic life and various desires; yet in context they are often a synonym of simple-minded people, and the image of these Corn Men is connected with the social, political and life scenes during the red era, these figures dressed in blue uniforms give us a sense of hardly understandable humor and absurdity.  This not only enables us to feel the empty revolutionary ideals in everyone's minds during that period, but also reminds us that there is still a small-peasant mentality and other feudal ideas in our pursuit for materialistic desires today.

  In Pan Dehai's latest series '1956 - 1976', he continues to bring forward this concept but through a more subtle way of expression.

  
'Our everyday life is comprised mainly of petty things and trifling matters. However to 'fuss over' them is not without sense. To observe them carefully can bring some kind of change to ourselves, to experience this change will bring our thoughts and feelings in the stream of our past and present as well as stimulate our potential talents, to allow us to go back to the provenance of art and the departure of life'. - Pan Dehai 2011, Beijing

For a complete list of Pan Dehai's latest available works visit here 

or contact YANG GALLERY: spore@yanggallery.com.sg / +65 6721 8888

 

Pan Dehai's works have been exhibited worldwide and are widely collected by private collectors and several renowned Contemporary Art Museums such as: 

National Contemporary Art Centre, Athens, Greece

Poly Art Museum, Beijing, China

Guangdong Art Museum, China

Shenzhen Art Museum, China

National Art Museum of China

Roman Contemporary Art Museum, Italy

Melbourne Art Museum, Australia

Chengdu Art Museum, Chengdu

Nan Jing Education Museum, Chongqing

Pan Dehai with his wife Dong Xue (beige) and YANG GALLERY staffs, part of YANG GALLERY Beijing 798's Grand Opening 'SPLENDOR: Ten People's Contemporary Exhibition', June 2011. 

Salvador Dali Prints & Sculptures!

YANG GALLERY Singapore & Beijing is proud to present Salvador Dali's Latest Available Limited Edition Prints & Sculptures for Sale!


Salvador Dali (11th May 1904 - 23rd January 1989) is more of the most famous artists that ever lived. 



Dali was a skilled draftsman, best known for striking and bizarre images in his surrealist works. Dali's expansive artistic repertoire includes film, sculpture and photography; in collaboration with a range of artists in a variety of media. 


In honor of the 10th anniversary of  Dali's death, these artworks are accompanied by its own Certificates of Authenticity authorized by Dali himself in 1980. 

For full list of available works click here

or contact: spore@yanggallery.com.sg / +65 6721 8888

Title: Woman Aflame

Title: Homage to Fashion

Title: Profile of Time

The Symbolism of That Era- A Conversation Between Artist Liu Liguo & Renowned Art Critic He Guiyan

YANG GALLERY Beijing is proud to present established artist Liu Liguo's Solo Exhibition 'Trafficking Imagination' from the 17th April - 18th May 2012. We sat down with Liu Liguo and renowned Chinese Contemporary art critic He Guiyan to understand more about the whimsical creations by one of the most collectible and representational Chinese artists today. 

He Guiyan: The early 1990s, along with the “New Generation”, “Political Pop, Cynical Realism,” saw the rise of contemporary painting and a clear shift away from the grand narrative, away from the Enlightenment sense of and active involvement in reality. Your early works were in 1993, and looking back, before and after, do you say you have a primary style?

Liu Liguo: I’d say my style still retains the characteristics of 1980s modernism, but also has that influence by the Pope expression of the early 1990s.

He: A large shift in the 1993-1995 works embodied in the “Sunflower Series” is one full of flashy atmosphere; the other is the image of “the buttocks”. What lead to such a change?

Liu: It was mainly because the Chinese door just 'opened' and “Westernization” came in,  the contrasts in the environment due to the influences from the two are particularly high, so in my heart there is a sense of loss. At this point, on one side the view was the West is good and we are bad, we should throw 'ourselves' away. But in my opinion, the traditions are good things, why should we abandon them, why would they point to the existence of no value? Thus, during my creation I want to forsake this kind of extreme attitude. Most of my work give people a witty banter and festive feeling, like Fang Lijun, sometimes there are some strong emotions.... My relatively mild, character stops me from I doing the kind of bloody, violent, intense or confrontational works. I hope to release some feelings with my sense of humor. “Buttocks” image is very elegant, but at the same time the traditional mentality is thinking that it is ugly, ashamed to be seen. However, with the “bouquet” and juxtaposition, there will be a sense of absurdity. A “Bouquet” is elegant, and “buttocks” is indecent, visually, they are both familiar and unfamiliar, but when the two symbols are set into one, ridiculousness and absurdity tend to diffuse out.
He: Your more recent works retain some common features from the 1990s, such as flat images, the Pope of flashy technology. 'Sunflower Series' from the outset in the visual images and symbols change, instead of 1980s modernist style, focus on the exploration of form and language.

Liu: We all want to work with personal symbols, and as typically as possible. The symbols are our links to that era.

He: How did you choose the personal symbols you retained from those eras?

Liu: When I chose the “buttocks” image as a symbol, my initial intuition was that this symbol must be typical. From the beginning I thought that if it wasn't so, people would be unfamiliar with the concept and that it would take a long time to understand and to get familiar with.

In my opinion, the artist needs to understand and control his or her own energy. So, I looked for one of the most familiar symbols, one that everyone will recognize, then applied it to my work. No matter your race or skin tone, you would understand the symbol. To such an extent that this symbol is the fly. In “Political Pop”, the artist began to use a variety of “Cultural Revolution” symbol, for example, Fang Lijun’s bald heads is concluded as a form of “silent cry out”. Obviously, a clear symbol can strengthen the expression of the intensity of the work. Of course, for the artist, when you choose a good symbol, you also need to manipulate its form and language conversion. 

He: “Volkswagen model” from the mid-1990s, “Gaudy Life”, and then to the Art Museum in Tianjin TEDA in 1999, Century Rainbow - Gaudy Art “exhibition, gaudy art became one of the important artistic trends of the late-1990s.

Liu: It was the friends of Li Xianting, whom is Gaudy Art's most important backup. There is a young critic Yang Wei, also painted in the mid-1990s with flashy-styled works, then slowly turned to the curatorial. In fact, at that time of the exhibition, the atmosphere was very different to what we’re used to today. For example, if today’s curators and critics were to write something, he would go to the artists to obtain the relevant information. But back then we had to do work with each other to discuss what I will do, what I will tell you, you give me comments, I will tell you how to do this work... But now there’s the batch of young critics, such as Zhu Qi, Huang Du, kaolinite with whom you are very familiar with.

He: The flashy style of your early paintings has continued in the porcelain works, and from the theme point of view, the works since 2000 in the content on the content of greater embodied in the “Feast”, “Classic Series” in. And at the same time, these works are filled with a strong folk flavor, and still containing the expression of “parody” and “irony”.  

Liu: Porcelain completely suited my expression style, it is gorgeous, glamorous, more in line with my expression... Therefore my work is beaming, and allows me to express the kind of self-satisfaction. However, from the physical properties of the material, although it is ornamental, the porcelain itself is fragile. Therefore, the porcelain expresses, ironically, the kind of extremely impetuous upstart mentality. For example, when we buy a bottle of Remy Martin we will want to finish it, although the consumer can afford buying Remy, but there is the psychological side to it as well. 'In the past, you look down on me, but now that I have money, I am very powerful and I can afford Remy.' It is a state of mind. I remember when I was in college,  Puma, Adidas shoes were always too expensive and I could not afford them. In order to have a sense of satisfaction, we drew similar trademarks or logos on our own shoes, although it is false, but it meet our own vanity. The gorgeous porcelain surface with its own fragility could represent a certain hidden kind of illusory self-expanding desires. I once did a lecture at the Central Academy of Fine Arts to talk about the unique nature of the material, do not think you just can make porcelain the same way one makes bronze or resin, they are only a mean, on the contrary a mature artist will control language, let the material speak for itself to showcase a good combination with your theme.

He: In a “modern country, dislocation and absurd phenomenon is normal. However, the image's narrative point of view, the scene of these pieces when placed in the works, it will form a new image landscape.

Liu: The landscape of the performance comes from my studies. I studied stage design at the College of Performing Arts, and I was also involved in the shooting of movies and TV shows. I prefer the drama of the symbolism, such as the Soviet Union, Stanislavsky, Brecht, Germany, in my works, I will subconsciously show these elements.

He: Your early porcelain features the “Buttocks” image, looking at your recent works, you seemed to be still more concerned about sexual and erotic ideas.

Liu: Yes, this feeling has always been there. However, the recent two years of works consider more on artistic language. I hope that the style should not be too different, to prevent weakening the characteristics of the painting itself. I hope to impress the audience first of all pure visual rendering rather than painting techniques or texture, because they are merely means. In my work, image and landscape significance is of greater value then the painting techniques and language.

He: The development of the creative context of individual artists, these works from one side to reflect the “flashy” a change in track since the 1990s. From popular culture of the 1990s, the context of the consumer era response to the face of globalization from post-colonial impact of the wave, my question is; after the exhibition of the century rainbow “,” is 'gaudy' coming to an end? In other words, after 2000, has Gaudy Art evolved, or have there been an emergence of new variant? How do you view the changes in the context of your personal creation?

Liu: During the 1990s it had been one-sided, the West is very strong. That had been globalized but the international point of view, our art is still not out of the locality, so I cannot evade the “post-colonial vision. However, the situation today is that China has fully integrated into the wave of globalization, we are equal with the West and is the same on the world stage. So, I hope we can use an international language to express and not geographically, showing its openness, inclusiveness, in order to truly reflect the culture of versatility. However, in the face of rapidly changing international artistic trends, is not only confusing for most artists my age but also a huge challenge. “Gaudy” came to be an artist, everyone needs to “transition”. Some people may turn better, and some may eventually turn back. In fact, the creation of state can be applied to all artists, but I prefer to have creative artists such as Damien Hirst, like the Flaming Mountains, passion, every year, new works, new tricks. Most artists cannot do this here side of both creativity and dominated by the art market. Gaudy Art “has passed, it is a product of that particular era. Not the same as in the past, when the art is biased in favour of trend, but today’s art is full of many possibilities. Of course, the risk of getting a new thing to be recognized needs time, but if I like it and I'm willing to do so. I can follow my original clues to paint, no problem, but if I do not like it, it will make people uncomfortable. Although in the past we have made some achievements, but artists have to be brave enough to challenge their own art, in itself is the individual’s labour and manifestation of self-worth, so we need to continue to go beyond. I adhere to the ever-creative motivation.  - 15th January 2012 

YANG GALLERY Singapore & Beijing's Chinese Contemporary Fine Art New Arrivals!

YANG GALLERY features the finest Chinese Contemporary Art in Singapore & Beijing. 

  Here are the latest collectible iconic pieces by the most established Chinese Contemporary artists! For full listing of YANG GALLERY'S representing artists visit here  or YANG GALLERY'S facebook page

or contact us: +65 6721 8888 (Singapore) / +86 10 5762 3020 (Beijing) / spore@yanggallery.com.sg

Artist name: Luo Brothers

Title: Welcome Welcome!- Coca-cola

Artist name: Liu Hong

Title: Lip Language- Sensuality

Artist name: Wu Mingzhong

Title: Give Prayer

Artist name: Liu Liguo

Title: The Superstar at Tian An Men Square

Artist name: Ma Jun

Title: New China Series- Car

Artist name: Chen Zhuo + Huang Keyi

Title: Chinese Carnival no. 6

  Yang Gallery presents: Oil paintings, Sculptures, Watercolors, Photographs, Prints, Installations, Designer Furniture and Artistic Architectures etc..

Artist name: Gong Dong

Title: Birthmark Series

Artist name: Pan Dehai

Title: 1956 - 1976: Teabreak

Artist name: He Wenjue

Title: Watch Movie- In the Mood for Love

Artist name: Li Qing

Title: A Deep Thought

Artist name: Liu Fei

Title: Pointing Girl

  Yang Gallery’s clients: Contemporary Art Museums, Private Art Foundations, Major Organizations, Luxury Groups, Banks to Private Collectors etc from all over the world.

  In the last few years we have successfully exhibited a number of influential exhibitions and various corporations such as: Fang Lijun’s ‘Investing in Chinese Contemporary Art’ Seminar, Cultural Exchange Conferences, Art Performances with Mercedes Benz, as well as many Charity Art Exhibitions & Collaboration Events in Singapore & Beijing.


 We look forward to be of service to you on your art collection very soon!