Chinese paintings stun local art lovers

Chinese paintings stun local art lovers

Huang Rongyuan, The Jakarta Post, Jakarta

Something that is experimental is always interesting to see, be
it the so-called "decapitating tactics" currently being applied
by the U.S.-led coalition forces in the war against Iraq or the
works of Chinese contemporary painters now being exhibited at the
National Gallery in Central Jakarta.

This exhibition, called From China with Art, features 65
paintings by 16 academy-graduated painters from a number of
Chinese provinces, depicting various experimental themes and
styles that have been accepted, and are expected, internationally
as a genre of Chinese modern painting.

Although some of them still adhere to socialist realism, there
work is accepted because the creations of these contemporary
painters, most of whom were born in the 1960s, do not contain the
ideological and political propaganda that used to prevail in most
modern Chinese paintings. Instead, they reveal their own novel
ideas of humanism and the freedom of individuals in a country
where individualism is by no means encouraged.

Other factors supporting their acceptance are the use of new
media, such as oil colors, canvas and acrylics -- a radical
departure from traditional Chinese painting that mainly uses
watercolors and paper -- and their affiliation to Western
culture.

Expected, because their works reflect masterly subject
delineation and color juxtaposition, making their presence a
jewel in any major painting exhibition. This has been proven by
their participation in a number of international exhibitions,
including those in Australia, Brazil, Britain, France, Italy,
Japan and the United States.

"The acceptance of Chinese (contemporary) art reflects the
recognition of its achievements as well as the expectation that
it will play a role in the (global) cultural exchange of
creativity," Johnson Chang Tsong-zung, the curator of the ongoing
exhibition told The Jakarta Post, moments before the opening
ceremony for the exhibition last Tuesday.

Johnson Chang said that due to the satirical tone that
prevails in the works of the contemporary painters, it would have
been impossible to publicly display their artistic, experimental
creations in mainland China some five years or so ago, much less
exhibit them in art galleries or museums.

Indeed, viewing the paintings on display, one may readily
agree with Johnson Chang's remarks. For example, painter Tang
Zhigang's Children in Meeting, painted in a surrealist-like
style, shows an honest depiction of the present condition of the
Chinese people in exercising their freedom of expression --
portrayed by children with different faces despite the Socialist
system of the Chinese government that imposes control over the
working class and peasants (reflected by the Mao jackets the
children are wearing, and contrived uniformity of the mugs on the
table). Meanwhile, the poster-style of Wang Guangyi's Great
Criticism clearly shows his wish for freedom of the individual
and expression: for the pen to be truly mightier than the sword.

Now that China has made great strides in economic development,
markedly improving the living standards of its people and
gradually liberalizing its political system, the emergence of the
critical "radical" painter has found a place in the hearts of
tens of millions of the 1.3 billion Chinese people.

"About two years ago the new President Hu Jintao (then vice-
president) himself endorsed the participation of the avant-garde
Chinese painters in an art biennial in Berlin," explained Johnson
Chang,

From China with Art, which ends on Thursday and will be
continued from April 3 through April 13 at Edwin's Gallery in
Kemang, South Jakarta, is an important painting exhibition given
the painters' international reputation and innovation in keeping
up with global changes and challenges.

Edwin Rahardjo, the owner of the Gallery and also the promoter
and organizer of the present exhibition, told the Post that he
has worked hard for years to be able to bring the prestigious
works as well as some of the 16 Chinese painters to Indonesia, in
the hope that this would broaden the horizons of local painters
and art connoisseurs regarding the remarkable achievements of
China's contemporary fine arts and painting.

Edwin noted that due to the fact that the desire of local
connoisseurs and art collectors "to own fine art works today has
become so great, it is in fact greater than their awareness of
art itself," most local collectors buy paintings on the basis of
financial profit rather than artistic appreciation, due to lack
of reliable sources and information, such as curators and
comprehensive reference books.

The exhibition From China with Art, which is complemented by a
seminar attended by scholars and art critics, is expected to
bring closer ties between the artists of the two countries,
exchanges of experiences, as well as encourage young Indonesian
painters to produce artistic creations that can be displayed in
art galleries and museums overseas.